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4-6-2018 A Conductor's Guide to Ariel Ramirez's Misa Por La Paz y La Justicia Andrew David Alegria Louisiana State University and Agricultural and Mechanical College, [email protected]
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Recommended Citation Alegria, Andrew David, "A Conductor's Guide to Ariel Ramirez's Misa Por La Paz y La Justicia" (2018). LSU Doctoral Dissertations. 4549. https://digitalcommons.lsu.edu/gradschool_dissertations/4549
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A CONDUCTOR’S GUIDE TO ARIEL RAMÍREZ MISA POR LA PAZ Y LA JUSTICIA
A Monograph
Submitted to the Graduate Faculty of Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Musical Arts
in
The School of Music
by Andrew D. Alegría B.M., Baylor University, 2003 M.M., University of New Mexico, 2012 May 2018
ACKNOWLEDGEMENTS
In 2012, I accepted a job as choir director at a small, bilingual Presbyterian church in the
Sandia Mountains of New Mexico. The church is in the village of Placitas, New Mexico, which is about 20 miles northeast of Albuquerque. Las Placitas Presbyterian Church (LPPC) was first established in 1894 as a Spanish mission church. Today it still retains its Spanish heritage with a blended service of Spanish and English. During my employment at LPPC I was introduced to
Ariel Ramírez’s Navidad Nuestra. The work is a Christmas Cantata that describes the Nativity scene. After this experience, I began to listen to other choral works by Ariel Ramírez. When I came across Misa Por La Paz y La Justicia, his second Mass composed in the early 1980’s, I was intrigued by the incorporation of folk music and folk tunes as they were blended into both the
Mass of the Ordinary and the Mass of the Proper. My journey to a deeper understanding of
Ramírez’s Misa Por La Paz y La Justicia has been a joyous one.
There are several individuals to whom I would like to express gratitude for their discussions with and emails to me. In Argentina, Inés Cuello de Ramírez, widow of Ariel
Ramírez, wrote to me about her late husband. I also want to thank Rig Mutchler at Stichting
Argentijnse Muziek in the Netherlands for his many responses to my emails about this choral work.
I also want to acknowledge the contributions of others who assisted me with preparing this monograph. In Louisiana, Dr. June Thomas spent countless hours on editing my monograph. I also want to thank my colleagues at Clarke University for their assistance: Dr.
Evelyn Nadeau, Professor of Spanish, reviewed my translations and Dr. Amy Dunker, Professor of Music, who reviewed my music analysis.
ii I would not be the musician I am today without the mentors who guided me through my music path. Professor Bradley Ellingboe (University of New Mexico) gave me many opportunities to conduct different types of choral ensembles. Dr. John Dickson (Louisiana State
University), made me a stronger conductor through his graduate choral conducting program.
I also wish to thank those who laid my music foundation at an early age. Fr. Mario
Galindo, former teacher at South Park Middle School, taught me the importance of making music. Mr. Ferris Arnold, former teacher at Mary Carroll High School, provided the guidance and instructional foundation of my musicianship, along with the countless private lesson teachers and educators that helped me throughout my middle and high school years.
Finally, I would like to thank my family. Many thanks go to my aunts and uncles who made phone calls and sent me “Ofrendas de Amor” (Offerings of Love) and to my parents for all their love and support. Thank you, Mom and Dad, for always believing in me. I could not have done this without your support.
iii TABLE OF CONTENTS
ACKNOWLEDGMENTS ………………………………………………………………………..ii
LIST OF TABLES …………………………………………………………………………….....vi
LIST OF FIGURES …………………………………………………………………………...... vii
ABSTRACT ………………………………………………………………………………………x
CHAPTER 1. ARIEL RAMÍREZ BIOGRAPHY ……………….………………………………1
CHAPTER 2. MISA POR LA PAZ Y LA JUSTICIA: GENESIS ………………………………...10
CHAPTER 3. MISA POR LA PAZ Y LA JUSTICIA: ANALYSIS OF TEXT …………………..17 Introducción …………….……………………………………………………………….18 Señor, ten piedad de nosotros (Kyrie) …………………………………………...... 19 Gloria a Dios (Gloria)………………………………………………………...………….22 Salmo responsorial ………………………………………………………………………23 Aleluia …………………………………………………………………………...... 25 Homilía ………………………………………………………………………………….26 Creo en Dios (Credo) ……………………………………………………………………27 Santo es el Señor (Sanctus) ……………………………………………………...... 28 Cordero de Dios (Agnus Dei) ……………………………………………………………29 Comunión ………………………………………………………………………………..29 Salmo 150 ……………………………………………………………………………….30
CHAPTER 4. MISA POR LA PAZ Y LA JUSTICIA: ANAYLYSIS OF MUSIC ………….…...32 Introducción …………….……………………………………………………………….33 Señor, ten piedad de nosotros (Kyrie) …………………………………………...... 35 Gloria a Dios (Gloria)…………………………………………………………...... 38 Salmo responsorial ………………………………………………………………………43 Aleluia …………………………………………………………………………...... 47 Homilía ………………………………………………………………………………….49 Creo en Dios (Credo) ……………………………………………………………………51 Santo es el Señor (Sanctus) ……………………………………………………...... 53 Cordero de Dios (Agnus Dei) …………………………………………………...... 56 Comunión ……………………………………………………………………...... 56 Salmo 150 ……………………………………………………………………...... 58
CHAPTER 5. MISA POR LA PAZ Y LA JUSTICIA: FOLK MUSIC ………………...... 61 Baguala ………………………………………………………………………………….63 Cueca ……………………………………………………………………………………64 Triste …………………………………………………………………………………….66 Ritmo Toba ………………………………………………………………………………67 Zamba …………………………………………………………………………...... 68
iv Malambo ………………………………………………………………………...... 69 Bailecito ……………………………………….………………………………...... 70 Estilo Pampeano ……………………………..………….………………………………71 Chacarera ……………………………………………………………………………….72 Instruments in Misa Por La Paz y La Justicia …………………………………………..73 Wind Instruments ………………………………………………………………………..74 String Instruments ……………………………………………………………………….76 Percussion Instruments ………………………………………………………………….79 Keyboard Instruments …………………………………………………………...... 86
CHAPTER 6. MISA POR LA PAZ Y LA JUSTICIA: CONDUCTING AND REHEARSAL ISSUES ……………………………………………………………………………….…………89 Introducción: ……………………………………………………………………………89 Señor, ten piedad de nosotros (Kyrie) …………………………………………...... 94 Gloria a Dios (Gloria)…………………………………………………………...... 96 Salmo responsorial ……………………………………………………………...... 98 Aleluia ………………………………………………………………………………….102 Homilía ………………………………………………………………………...... 104 Creo en Dios (Credo) …………………………………………………………………..107 Santo es el Señor (Sanctus) …………………………………………………………….109 Cordero de Dios (Agnus Dei) …………………………………………………………..111 Comunión ………………………………………………………………………………152 Salmo 150 ……………………………………………………………………...... 116
CHAPTER 7. CONCLUSION ……………………………………………………………...... 121
BIBLIOGRAPHY………………………………………………………………………………123
DISCOGRAPHY ………………………………………………………………………………126
APPENDIX 1. ABOUT THE CREATION OF MISA POR LA PAZ Y LA JUSTICIA …….……….127 2. MISA POR LA PAZ Y LA JUSTICIA: TEXT AND TRANSLATION ……………..128 3. MISA POR LA PAZ Y LA JUSTICIA: INTERNATIONAL PHONETIC ALPHABET (IPA) ……………………………………………………………...... 134 4. MISA POR LA PAZ Y LA JUSTICIA: FIRST RECORDING AND PERFORMANCES …………………………………………………………..147
VITA …………………………………………………………………………………………...148
v LIST OF TABLES
Table 1.1. Ariel Ramírez’s Leadership Positions ………………………………………………...8
Table 1.2. Song styles and dance rhythms in Misa Criolla ………………………………………9
Table 1.3. Song styles and dance rhythms in Navidad Nuestra …………………………………..9
Table 3.1. Three-fold Kyrie …………………………………………………………………….20
Table 3.2. Two-fold Christe …………………………………………………………………….21
Table 3.3. Two-fold Kyrie …………………………………………………………………...….22
Table 4.1. A Herford analysis on Misa Por La Paz y La Justicia: Introducción ………………...33
Table 4.2. A Herford analysis on Misa Por La Paz y La Justicia: Señor ten piedad …………..35
Table 4.3. A Herford analysis on Misa Por La Paz y La Justicia: Gloria a Dios ……………...38
Table 4.4. A Herford analysis on Misa Por La Paz y La Justicia: Salmo reponsorial …………43
Table 4.5. A Herford analysis on Misa Por La Paz y La Justicia: Aleluia …………………….47
Table 4.6. A Herford analysis on Misa Por La Paz y La Justicia: Homilía …………………....49
Table 4.7. A Herford analysis on Misa Por La Paz y La Justicia: Creo en Dios ………………51
Table 4.8. A Herford analysis on Misa Por La Paz y La Justicia: Santo es el Señor …………..53
Table 4.9. A Herford analysis on Misa Por La Paz y La Justicia: Cordero de Dios …………...56
Table 4.10. A Herford analysis on Misa Por La Paz y La Justicia: Comunión ………………..56
Table 4.11. A Herford analysis on Misa Por La Paz y La Justicia: Salmo 150 ………………..58
Table 5.1. Song styles and dance rhythms in Misa Por La Paz y La Justicia …………………..63
Table 5.2. Use of the piano in Misa Por La Paz y La Justicia ………………………………....88
vi LIST OF FIGURES
Figure 4.1. Ariel Ramírez, Misa Por La Paz y La Justicia, “Introducción,” mm. 1-10. ……….34
Figure 4.2. Ariel Ramírez, Misa Por La Paz y La Justicia, “Introducción,” mm. 27-31. ……...35
Figure 4.3. Ariel Ramírez, Misa Por La Paz y La Justicia, “Señor ten piedad de nosotros,” mm. 40-43. ………………………………………………………………………………………37
Figure 4.4. Ariel Ramírez, Misa Por La Paz y La Justicia, “Señor ten piedad de nosotros,” mm. 57-60. ……...……………………………………………………………………………….38
Figure 4.5. Ariel Ramírez, Misa Por La Paz y La Justicia, “Gloria a Dios,” mm. 71-76. ……..42
Figure 4.6. Ariel Ramírez, Misa Por La Paz y La Justicia, “Gloria a Dios,” mm. 104-11. ……42
Figure 4.7. Ariel Ramírez, Misa Por La Paz y La Justicia, “Gloria a Dios,” mm. 112-17. ……42
Figure 4.8. Ariel Ramírez, Misa Por La Paz y La Justicia, “Gloria a Dios,” mm. 219-22. ……43
Figure 4.9. Ariel Ramírez, Misa Por La Paz y La Justicia, “Salmo reponsorial,” mm. 9-16. ……………………………………………...... 45
Figure 4.10. Ariel Ramírez, Misa Por La Paz y La Justicia, “Salmo reponsorial,” mm. 30-36...... 45
Figure 4.11. Ariel Ramírez, Misa Por La Paz y La Justicia, “Salmo reponsorial,” mm. 61-66...... 46
Figure 4.12. Ariel Ramírez, Misa Por La Paz y La Justicia, “Aleluia,” mm. 1-3. ……………..48
Figure 4.13. Ariel Ramírez, Misa Por La Paz y La Justicia, “Aleluja,” mm. 60-64. …………..48
Figure 4.14. Ariel Ramírez, Misa Por La Paz y La Justicia, “Homilía,” mm. 25-29. …………50
Figure 4.15. Ariel Ramírez, Misa Por La Paz y La Justicia, “Homilía,” mm. 30-33. …………51
Figure 4.16. Ariel Ramírez, Misa Por La Paz y La Justicia, “Creo en Dios,” mm. 76-81. ……53
Figure 4.17. Ariel Ramírez, Misa Por La Paz y La Justicia, “Creo en Dios,” mm. 1-9. ………53
Figure 4.18. Ariel Ramírez, Misa Por La Paz y La Justicia, Santo es el Señor,” mm 63-70. …..55
Figure 4.19. Ariel Ramírez, Misa Por La Paz y La Justicia, “Salmo 150,” mm. 196-201. ……60
vii Figure 5.1. Ariel Ramírez, Misa Por La Paz y La Justicia, “Señor ten piedad de nosotros,” mm. 32-34. ………..……………………………………………………………………………..64
Figure 5.2. Ariel Ramírez, Misa Por La Paz y La Justicia, “Gloria a Dios,” mm. 11-16. ……..66
Figure 5.3. Ariel Ramírez, Misa Por La Paz y La Justicia, “Gloria a Dios,” mm. 104-11. ……67
Figure 5.4. Ariel Ramírez, Misa Por La Paz y La Justicia, “Gloria a Dios,” mm. 112-17. ……67
Figure 5.5. Ariel Ramírez, Misa Por La Paz y La Justicia, “Creo en Dios,” mm. 76 – 81. ……70
Figure 5.6. Ariel Ramírez, Misa Por La Paz y La Justicia, “Gloria a Dios,” mm. 28-32. ……..80
Figure 6.1. Ariel Ramírez, Misa Por La Paz y La Justicia, “Introducción,” mm. 11-16. ……...90
Figure 6.2. Ariel Ramírez, Misa Por La Paz y La Justicia, “Introducción,” mm. 11-16. ……...91
Figure 6.3. Ariel Ramírez, Misa Por La Paz y La Justicia, “Introducción,” mm. 11-16. ……...92
Figure 6.4. Ariel Ramírez, Misa Por La Paz y La Justicia, “Introducción,” mm. 11-16. ……...93
Figure 6.5. Ariel Ramírez, Misa Por La Paz y La Justicia, “Señor ten piedad de nosotros,” mm. 35-39. ………………………………………………………………………………………95
Figure 6.6. Ariel Ramírez, Misa Por La Paz y La Justicia, “Señor ten piedad de nosotros,” mm. 53-56. ………………………………………………………………………………………95
Figure 6.7. Ariel Ramírez, Misa Por La Paz y La Justicia, “Gloria a Dios,” mm. 25-32. ……..96
Figure 6.8. Ariel Ramírez, Misa Por La Paz y La Justicia, “Gloria a Dios,” mm. 112-18. ……97
Figure 6.9. Ariel Ramírez, Misa Por La Paz y La Justicia, “Gloria a Dios,” mm. 71-76. ……..98
Figure 6.10. Ariel Ramírez, Misa Por La Paz y La Justicia, “Salmo Responsorial,” mm. 9-16. ………………………………………………………………………………………..99
Figure 6.11. Ariel Ramírez, Misa Por La Paz y La Justicia, “Salmo Responsorial,” mm. 37-41. ……………………………………………………………………………………..100
Figure 6.12. Ariel Ramírez, Misa Por La Paz y La Justicia, “Salmo Responsorial,” mm. 56-60. ……………………………………………………………………………………..100
Figure 6.13. Ariel Ramírez, Misa Por La Paz y La Justicia, “Aleluia,” mm. 1-3. …………....102
Figure 6.14. Ariel Ramírez, Misa Por La Paz y La Justicia, “Aleluia,” mm. 4-7. ……………103
viii Figure 6.15. Ariel Ramírez, Misa Por La Paz y La Justicia, “Homilía,” mm. 7-12. …………105
Figure 6.16. Ariel Ramírez, Misa Por La Paz y La Justicia, “Homilía,” mm. 19-24. ………..106
Figure 6.17. Ariel Ramírez, Misa Por La Paz y La Justicia, “Homilía,” mm. 30-32. ………..107
Figure 6.18. Ariel Ramírez, Misa Por La Paz y La Justicia, “Creo en Dios,” mm. 123-31. ……………………………………………………………………………………108
Figure 6.19. Ariel Ramírez, Misa Por La Paz y La Justicia, “Creo en Dios,” mm. 66-70. …..109
Figure 6.20. Ariel Ramírez, Misa Por La Paz y La Justicia, “Santo es el Señor,” mm. 14-19. ……………………………………………………………………………………..110
Figure 6.21. Ariel Ramírez, Misa Por La Paz y La Justicia, “Cordero de Dios,” mm. 1-5. ….111
Figure 6.22. Ariel Ramírez, Misa Por La Paz y La Justicia, “Cordero de Dios,” mm. 24-30. ……………………………………………………………………………………..112
Figure 6.23. Ariel Ramírez, Misa Por La Paz y La Justicia, “Comunión,” mm. 1-4. ………...113
Figure 6.24. Ariel Ramírez, Misa Por La Paz y La Justicia, “Comunión,” mm. 44-47. ……...114
Figure 6.25. Ariel Ramírez, Misa Por La Paz y La Justicia, “Comunión,” mm. 48-52. …..….114
Figure 6.26. Ariel Ramírez, Misa Por La Paz y La Justicia, “Comunión,” mm. 44-47. ……...116
Figure 6.27. Ariel Ramírez, Misa Por La Paz y La Justicia, “Salmo 150,” mm. 1-5. ………..117
Figure 6.28. Ariel Ramírez, Misa Por La Paz y La Justicia, “Salmo 150,” mm. 25-30. …..…118
Figure 6.29. Ariel Ramírez, Misa Por La Paz y La Justicia, “Salmo 150,” mm. 31-36. ……..118
Figure 6.30. Ariel Ramírez, Misa Por La Paz y La Justicia, “Salmo 150,” mm. 78-84. ……..118
Figure 6.31. Ariel Ramírez, Misa Por La Paz y La Justicia, “Salmo 150,” mm. 140-48. …....120
ix ABSTRACT
The purpose of this monograph is to establish that Ariel Ramírez Misa Por La Paz y La
Justicia is a significant choral work of the twentieth century that expresses the idea of peace during a time of disorder. My study will focus mostly on an analysis of the work, but will also provide additional information on the life of the composer. This will afford future conductors a resource on the Mass. My hope is that with this in-depth study of the work, conductors and/or ensembles will be more willing to perform this Mass. The parallels between the historical period in which Ramírez wrote and our contemporary time are many, including prolific shootings at public places, bombings at local businesses, and widespread political uncertainty. Music, and this Mass in particular, is a dynamic way to encourage peace and harmony, a salve for our communities, and healing to the audiences.
x
CHAPTER 1 BIOGRAPHY OF ARIEL RAMÍREZ
Ariel Ramírez was an artist who achieved recognition not only in Argentina, but around the world. His music is widely known to express the culture and rhythmic styles of the Latin
American community because Ramírez traveled throughout South America and Europe giving folk music concerts and teaching music lessons.
Born in Santa Fe, a province in northeastern Argentina on September 4, 1921, Ramírez was the child of a schoolteacher father. Both his parents expected him to become a teacher. In an interview with Ramírez he stated, “Education was a big thing in our family.”1 His family lived in Córdoba on top of the school where his father taught. The school contained a small museum with a piano. There Ramírez would practice tango music when the museum was closed to the public. After he received his certificate to teach, he began teaching fourth-grade students in
Santa Fe, Argentina. After only a few days into his new job, he realized that teaching school children was not the career for him, due to his inability to discipline.2
His family, realizing his passion for music, gave him money so that he could stay with a friend in Tulumba, a city just outside of Córdoba. It was during his time in Tulumba that
Ramírez met one of the leading figures in folk music, Hector Roberto Chavero Uramburu. As a folk singer and songwriter, Hector, known as the father of nueva canción (new song), changed his name to Atahualpa Yupanqui. Under this name, he became associated with the music of the
1 Caleb Bach, “Ariel Ramírez: High Fidelity for Folk,” Américas 55, no. 5 (September 2003): 43. 2 Ibid. 1
indigenous cultures and the humanitarian values of those in Chile and Argentina.3 With the financial help of Yupanqui, Ramírez was able to travel to the northwest parts of Argentina and immerse himself in the folk music of the area.4 Ramírez traveled throughout the provinces of
Tucumán, Salta, Jujuy, Humanhuaca, and Mendoza. While in Humanhuaca, he received music lessons from Dr. Justiniano Torres Aparicio, a musician and connoisseur of the national culture.5
In 1943, Ramírez was invited to take part in Voces de La Tierra (Voices of the Land) at the Teatro Alvear in Buenos Aires. After the show closed, Ramírez stayed in the capital and began working for Radio El Mondo. During his time as a piano performer on the radio, he showcased several of his newly composed works, such as La Sadcita (Zamba), Purmamarca
(Bailecito) and Malambo. Ramírez states that Malambo is the purest folk music of all his works.6 After several years the radio station was bought by the government. To continue working for the radio station Ramírez had to sign a statement of political loyalty. Because
Ramírez identified as an independent and his father was involved in radical activities, he was terminated from the position.7
3 Tom Schnabel, Rhythm Planet: The Great World Music Makers (New York: Univers Publication, 1998), 134. 4 Adam Bernstein, “Ariel Ramirez dies, Argentine composer wrote ‘Misa Criolla’,” The Washington Post, February 21, 2010, http://www.washingtonpost.com/wp- dyn/content/article/2010/02/20/AR2010022003418.html (accessed on February 16, 2017). 5 Semblanzas Produciones. “Biografia.” Sitio Oficial de Ariel Ramírez. http://www.arielramirez.com/biog.htm (accessed December 12, 2016). 6 Ibid. 7 Caleb Bach, “Ariel Ramírez: High Fidelity for Folk,” Américas 55, no. 5 (September 2003): 44. 2
With the growing popularity of his folk music, RCA label began a partnership of recordings that lasted over a decade. With over 20 double discs recorded, Ramírez's music became a household item. During his time with RCA, he attended the National Conservatory of
Music in Argentina for one year. He received lessons from Luis Gianneo in piano technique and composition.8
Ramírez made his first trip to Europe in 1950. While living in Rome he interpreted
Argentine and South American music for the Istituto Italo-Argentino per gli Scambi Culturali ed
Artistici (Italo-Argentine Institute for Cultural and Artistic Exchanges). For four years, he performed piano concerts throughout Western Europe. During that time, he also received a scholarship from the Institute of Hispanic Culture in Madrid to continue his studies of the oral tradition of Spanish music.9
On his return to South America in 1954, he spent time in Bolivia, Peru, and Uruguay studying the origins of folk music and folk dance. By the mid-1950’s, he returned to Buenos
Aires where he won an advanced music fellowship to study music composition.10 While attending his fellowship he founded two folklore companies. Both “La Compañia Argentina de
Folklore” and “La Compañia Ariel Ramírez de Folklore” performed throughout Latin America.11
8 Semblanzas Produciones. “Biografia.” Sitio Oficial de Ariel Ramírez. http://www.arielramirez.com/biog.htm (accessed December 12, 2016). 9 Oscar Escalada,“Ariel Ramírez’s Misa Criolla,” trans. by Aaron Mitchell, Choral Journal 49, no. 2 (August 2008): 27. 10 Caleb Bach, “Ariel Ramírez: High Fidelity for Folk,” Américas 55, no. 5 (September 2003): 45. 11 Aaron Mitchell, “A Conductor’s Guide to Ariel Ramírez’s Misa Criolla.” (DMA diss., University of Cincinnati, 2009), 2. 3
Folk music in Argentina became increasingly popular during the 1960’s. In 1961, The
Cosquín Folk Festival was established in the province of Córdoba, Argentina. Held annually, this festival is the most important celebration of folk music of its kind in Argentina, and it continues to this day.12 During this time, Ramírez was one of the most influential leaders in folk music.
The mid-1960’s would prove to be a time of international fame for Ramírez. He was already a very well-known composer of folk music for piano and voice. However, in December of 1965 Misa Criolla (Creole Mass) debuted. The work uses folk tunes and folk rhythms in a liturgical Mass setting. Misa Criolla was then followed by four other popular master works:
Navidad Nuestra (Our Christmas), Los Caudillos (The Leaders), Mujeres Argentinas
(Argentinian Women), and Cantata Sudamericana (South American Cantata).
In 1967, Ramírez took a second trip to Europe to showcase Misa Criolla. The tour featured concerts in Germany, Holland, Belgium, and Switzerland. The tour concluded in Rome, with a private concert for Pope Paul VI.
After his success in Europe, Ramírez became aware that one of his works was recorded under a different name. “La Peregrinación” (The Announcement) from Navidad Nuestra was scored for orchestra by Paul Mauriat without Ramírez’s knowledge. The work was renamed
“Alouette” (French for lark) in the 1968 LP album “Rain and Tears.” Because of this he became
12 Jane L. Florine, ““Cuarteto:” Dance-Hall Entertainment or People’s Music?,” Revista de Música Latinoamericana 19, no. 1 (Spring - Summer, 1998): 36. 4
involved as a leader of copyright laws, not only to protect his own works, but also to protect the works of lesser known composers.13
Over the next forty years, Ramírez was a member of the “Confédération Internationale des Sociétés d'Auteurs et Compositeurs" (International Confederation of Societies of Authors and Composers), and the “Sociedad Argentina de Autores y Compositores de Música”
(Argentina Society of Authors and Composers of Music). He presided over the SADAIC for five terms until 2005. Due to his leadership positions, Ramírez continued his fight for the rights of copyright laws in folk music throughout Latin America (See Table 1.1).
Of all the compositions Ramírez composed in the 1960’s, Misa Criolla became one of the most popular works. The Mass is composed of five movements based on the Ordinary Mass:
Kyrie, Gloria, Credo, Sanctus, and Agnus Dei. Each movement is associated with a folk song and/or folk dance (See Table 1.2). The Kyrie is written in the lyrical vocal style of the vidala-
Baguala, a musical form of Northern Argentina and Bolivia.
Although the first public performance of the Misa Criolla was at the Club Praga in
Mercedes, Uruguay, in late 1964, Philips Records produced an LP recording in 1964. The recording featured Ramírez on keyboard along with the prominent northern Argentinean band
“Los Fronterizos” and the choir of Cantoría de la Basílica del Socorro. The ensemble was conducted by Father Jesús Gabriel Segade, who also collaborated with Ramírez in the choral arrangements of Misa Criolla. Ramírez's special technique of associating each movement of the
Mass with a folk tune or folk dance, such as the Chacarera, carnavalito, and carnival cochababino, became an innovative idea of the time. This was during the time when the Second
13 Semblanzas Produciones. “Biografia.” Sitio Oficial de Ariel Ramírez. http://www.arielramirez.com/biog.htm (accessed December 12, 2016) 5
Vatican Council gave authority to the Catholic church to allow the vernacular language to be used instead of Latin.
The popularity of Misa Criolla throughout the late twentieth century attracted many renowned Spanish singers, as well the attention of the Pope. Ramírez gave the first performance of Misa Criolla in Rome in 1967 for Pope Paul VI. It would be over forty years for Misa Criolla to be performed for a second time in Rome. In 2014, Ariel Ramírez’s son, Facundo Ramírez, conducted the second performance of Misa Criolla with Argentina soprano singer, Patricia Sosa.
One of the greatest Spanish opera singers, José Carreras, recorded a performance of Misa Criolla with Ariel Ramírez at the piano in 1987. This recording, as did other recordings of Misa Criolla, established a new style of composition for the Spanish Mass. Other choral Masses soon followed suit, such as De la Torre’s Misa Flamenca (1991) and Bacalov’s Misa Tango (1997).
During the same time as the composition of Misa Criolla, Ariel Ramírez composed
Navidad Nuestra (Our Christmas). The six-movement cantata, with Spanish text by Félix Luna, begins with the story of the birth of Jesus and ends with the escape of Mary, Joseph, and Jesus to
Egypt. Just like Misa Criolla, the cantata uses traditional Argentina folk dance and songs for each movement (See Table 1.3).
In his text, Felix Luna sets the story of Navidad Nuestra in northern Argentina instead of
Bethlehem. From the start of the cantata, Luna describes the Angel Gabriel as a cowboy with a saber wearing silver spurs on his boots. Even the gifts from the Magi are not the traditional gold, frankincense, and myrrh. Luna has “Los Reyes Magos" (The Magi Kings) bring “arrope, miel, and un poncho blanco de alpaca real” (syrup, honey, and a white pancho of real alpaca). Luna also specifies locations in Argentina within the work. After Mary received the message from the
Angel Gabriel, both Mary and Joseph traveled across “las pampas heladas” (the frozen Pampas).
6
The Pampas refers to the South American lowlands covering most of Eastern Argentina,
Uruguay, and Southern Brazil. In the fourth movement, “Los Pastores" (The Shepherds) all come from several cities of La Rioja, a province in northwestern Argentina. With the combination of Luna’s text and Ramírez’s folk music, Navidad Nuestra makes the message of
Jesus’s birth much more relatable to the Argentinean people.
In 1964, after the success of Navidad Nuestra, Ramírez continued to compose several other major works with Félix Luna. These works include Los Caudillos, Mujeres Argentinas, and Cantata Sudamericana. In 1981, Ramírez composed Misa Por La Paz y La Justicia (Mass for Peace and Justice) during a time of military and governmental turmoil in Argentina. In an interview with The New York Times, Ramírez told the press that he felt pressured by “the church, my friends and the public” for a second compositional Mass.14 With the collaboration of
Félix Luna and Osvaldo Catena on text, Ramírez’s final Mass would be a work that spoke a message of peace and justice not only in Argentina, but throughout the world.
14 John Pareles, “The Arts Festival; A Cry for Peace From Argentina,” The New York Times, June 21, 1988, http://www.nytimes.com/1988/06/21/arts/the-arts-festival-a-cry-for-peace- from-argentina.html (accessed February 16, 2017). 7
Table 1.1. Ariel Ramírez’s Leadership Positions15
Organization Position Dates International Confederation PanAmerican consultant 1969, 1971, 1975 of Societies of Authors and Composers (CISAC) CISAC Member of the Consultant of 1972-74, 1975-76, 1994-96, Administration 1996-98, 1998-2010 National Endowment for the Board Member 1973-1976 Arts International Bureau of President of Consultation of 1974-1975 Administrative Societies of Administration Recording and Rights and Mechanical Reproductions (BIEM) Ministry of Culture and Director of Musical Activities 1974-1976 Education The Center of Musical Director 1984-1988 Divulgence of the Municipality of Buenos Aires (CDM) Argentina Society of Authors Secretary General 1985-89, 1989-93 and Composers of Music (SADAIC) CISAC President 1988-1990 SADAIC President 1970-74, 1974-77, 1993-97, 1997-2001, 2001-2005 SADAIC President of the Advisory 2005-2010 Board
15 Semblanzas Produciones. “Biografia.” Sitio Oficial de Ariel Ramírez. http://www.arielramirez.com/biog.htm (accessed December 12, 2016). 8
Table 1.2. Song styles and dance rhythms in Misa Criolla16
Movement Subtitle Genre Kyrie Vidala Song Baguala Song Gloria Carnavalito Dance Yaraví Song Credo Chacarera Trunca Dance Sanctus Carnaval Cochabambino Dance Angus Dei Estilo Pampeano Song
Table 1.3. Song styles and dance rhythms in Navidad Nuestra17
Movement Subtitle Genre La Anunciacion Chamamé Dance La Peregrinacion Huella Pampeana Dance El Nacimiento Vidala Catamarqueña Song Los Pastores Chaya Riojana Dance Los Reyes Magos Takirari Dance La Huida Vidala Tucumana Song
16 Semblanzas Produciones “Obras destacadas.” Sitio Oficial de Ariel Ramírez. http://www.arielramirez.com/obra.htm (accessed December 12, 2016).
17 Ibid. 9
CHAPTER 2 MISA POR LA PAZ Y LA JUSTICIA: GENESIS
The Misa Por La Paz y La Justicia is a 45-minute work composed for solo voice, narration, chorus, and several instruments ranging from modern electric instruments to aboriginal instruments. Modern instruments include a twelve-string guitar, an electric guitar, an electric bass, and an electric keyboard. Ramírez’s indigenous instruments include the quena, a wind/recorder instrument that is closely related to the flute; the charango, a string instrument that is closely related to the lute; and three sikus, also known as pan flutes, of different registers.
In 1979, Ariel Ramírez attended a performance of Misa Criolla at the Chapel Mater
Admirabilis, Buenos Aires. During this service, Father Rafael Braun called out unto God for a
Mass to be composed with the message of peace and justice. Ariel Ramírez took that message from Father Rafael Braun as a predestined call from God to compose his second Mass. In his own words, Ariel Ramírez offers a window into the genesis and substance of the work.
ABOUT THE CREATION OF MISA POR LA PAZ Y LA JUSITCIA18 (text signed by Ariel Ramírez / translated by Andrew Alegría)
Accepting the suggestion of the editors about subscribing the preliminary commentary for this edition, I thought I should make known the events that, many years ago, gave rise to the work that we presented. So, narrating my own experiences, I share my recollection of a series of fragments of interviews published in different newspapers of the country around the Mass for Peace and Justice.
Composing Mass for Peace and Justice was a predestination. It occurred during a performance of Misa Criolla in the Mater Admirabilis chapel, in 900 Arroyo Street, Buenos Aires, in 1979. During the religious service, Father Rafael Braun publicly asked God to compose another Mass that implored for peace and justice in the world. Thereafter I assumed the commitment, and I searched for the right material with the help of Father Osvaldo Catena and the support of the Father José Bevilacqua. In this new Mass I tried to reflect the message of the Catholic Church of two thousand years, that of preaching for the validity of these two values of the Gospel and humanity.
18 Semblanzas Produciones,“Obras: Misa Por La Paz y La Jusitcia,” Sitio Oficial de Ariel Ramírez, http://www.arielramirez.com/obra3.htm, (accessed December 13, 2016). 10
When I read the newspapers and see what is happening in the world, as a man I am horrified. It is the same pain that I felt in my own country because of what we have lived through. I believe that, as an artist, one must contribute so that we do not repeat the past, neither here nor elsewhere, and so the idea of putting this message into music came about.
As an Argentine artist, I am able to convey a Christian message of peace within my work. And I hope that the intention of my message will be deeply understood. I do not ask for peace either with shouts or with hatred, but with love... Perhaps it can be a grain of sand in favor of peace and justice in the world.
Events lived through in recent years in my country are what led me to write this new score. Never before have we gone through so many misfortunes.
In the Mass for Peace and Justice, two important aspects must be considered. The first, in a short sentence, is the artistic face. The other is the moral, which makes us reflect deeply on the meaning of the words peace and justice: peace as the only means of co- existence and justice as a vehicle of union between peoples all over the world.
Without that peace and without that justice it would be impossible to paint, compose, write, and enjoy all the gifts that God has given us in life to share with our children and our friends.
In 1981 Ariel Ramírez completed his second Mass. The work was recorded by ION studios, in Buenos Aries, for the Microphone label. Just like Misa Criolla, Misa Por La Paz y La
Justicia became very popular before it was ever performed publicly. The recording was produced on November 26, 1981, in the Parish of Our Lady of the Carmen in Buenos Aires.
With Ariel Ramírez at the piano, the disk included Zamba Quipildor as the vocal soloist, Alfredo
Alcón as the narrator, and Óscar Cardozo Ocampo as the conductor. The choir comes from the
Club Regatas de Mendoza, under the direction of Damián Sánchez. Both Ramírez and Sánchez collaborated on the choral movements on Misa Por La Paz y La Justicia. The text employed in the Mass was provided by Father Osvaldo Catena. Father Osvaldo Catena and Ariel Ramírez were childhood friends in their hometown of Santa Fe, Argentina. Father Catena is credited for being one of the first translators of the Latin Mass into Spanish during the Second Vatican
11
Council (1962 - 65) under Pope Paul VI.19 The first major work that both Father Catena and
Ramírez collaborated on was his Misa Criolla in 1964. The text used in Misa Criolla contains the traditional five parts of the Ordinary Mass: Kyrie, Gloria, Credo, Sanctus, and Agnus Dei.
What makes Misa Por La Paz y La Justicia different from Misa Criolla is that Father Catena incorporates parts of the Proper Mass into the work: Introduction, Psalm Reponsorial, Hallelujah,
Homily, Communion, and Psalm 150. While the majority of the text is liturgical, Father Catena did use other sacred texts and a speech given by Pope John Paul II in the Mass.
It seems appropriate that Father Catena would use a speech from Pope John Paull II as part of Misa Por La Paz y La Justicia. Throughout his papacy the pope was known as one of the most powerful voices for peace, hope, and justice.20 The speech given by Pope John Paul II comes from his first message delivered on the World Day of Peace, January 1, 1979. The message, “Et Affer ad Pax, Pax Doce" (To Reach Peace, Teach Peace), is divided into three sections. Father Catena takes small portions of each section and incorporates them into the
Homily spoken by the narrator. Each section within the Homily expounds on the idea that all people desire peace, but each person must work hard to be the builder of peace. The only way to become builders of peace is to teach peace. When Pope John Paul II gave this speech, Argentina was in the middle of economic and turbulent times where the loss of lives was in the thousands.
Between 1976 and 1983, over 25,000 people disappeared in Argentina. The state of
Argentina was controlled by a military junta, called el Proceso (The Trial). This group of radical
19 Semblanzas Producciones, "Obras: Misa Criolla," Sitio Oficial de Ariel Ramírez, http://www.arielRamírez.com/obra2.htm (accessed February 9, 2017). 20 Mary Ann Walsh, John Paul II: A Light for the World, Essays and Reflections on the Papacy of John Paul II, (Chicago: Sheed & Ward, 2003), 11. 12
military solders abducted Argentinian citizens, whether guilty or innocent, and sent them to concentration camps throughout Argentina. There they were tortured and ultimately murdered by el Proceso.21 This period in Argentina became known as the “Dirty War” (Guerra Sucia).
At the beginning of the 1970’s, President Juan Perón passed away. The Vice-President, and Perón’s wife, Maria Estela (Elizabeth) Perón became president in 1973. With the death of
Juan Perón, Argentina’s government became very corrupt. President Elizabeth Perón attempted to keep the peace, but the economy was in chaos and much of the country was experiencing guerrilla terrorism. In 1975, the president appointed General Jorge Rafael Videla as General
Commander of the Army. One year later, General Videla led a coup to overthrow President
Elizabeth Perón. It was during President Videla’s time in office that the Argentinian people began to hear that the military was torturing people and that these people had disappeared.22
President Videla and his officers argued that they took over the government from President
Elizabeth Perón to prevent communism in Argentina. Fighting to win against the guerrilla terrorism, the government did whatever was necessary, whatever the cost.23 Sadly, the cost went far beyond the murdering of the guerrilla members. Innocent Argentinian people of various
21 M. Patricia Marchak and William Marchak, God’s Assassins: State Terrorism in Argentina in the 1970s, (Montreal: McGill-Queen’s University Press, 1999), 3. 22 Laurence W. Levine and Kathleen Quinn, Inside Argentina from Perón to Menem: 1950 - 2000 From an American Point of View, (Ojai, California: Edwin House Publishing Inc., 2001), 181. 23 Paul Lewis, Guerrillas and Generals: The “Dirty War” in Argentina, (Westport, Conn: Praeger, 2002), 2. 13
professions such as professors, journalists, union members, artists, lawyers, and Catholic priests became governmental targets.24
Prior to the Dirty Wars, the Catholic Church was a major influence in the government.
Bishops and priests could obtain governmental information with a letter or a phone call. But when the church began to ask questions about the disappearance of thousands of people, the government told the church not to get involved.25 It is no wonder that Ariel Ramírez chose to compose a Mass about peace and justice. For about eight years, families were being separated and were not able to find comfort within the church for answers.
In a time when his homeland was under such devastation and confusion, Ramírez’s
Misa Por La Paz y La Justicia brought together the sounds of folk music and folk melodies with sacred and liturgical texts to provide a moment in time of peace through music. In the past, music that depicted the idea of courage in war was one instrument that brought the people of that nation together as a unified whole.26 In the post-modern world, music that once glorified war through its martial themes and instruments has often transitioned to metaphors and representations of peace and consolation. Ramírez’s choice of peace as a theme was in sharp contrast with the traditional use of music for national unification.
For example, two masses by Joseph Haydn represent the “Old World” view of war. Both
Missa in Tempore Billi (1796) and Missa in Angustiis (1798), also known as Lord Nelson Mass,
24 M. Patricia Marchak and William Marchak, God’s Assassins: State Terrorism in Argentina in the 1970s, (Montreal: McGill-Queen’s University Press, 1999), 4. 25 Paul Lewis, Guerrillas and Generals: The “Dirty War” in Argentina, (Westport, Conn: Praeger, 2002), 185. 26 Leon Botstein, “Music in Time of War,” Conjunctions, no. 16 The Music Issue (1991): 122. 14
were composed during the Napoleonic wars. These compositions connote the idea of war using timpani motifs found both in the Agnus Dei of Missa in Tempore Belli, as well as in the fanfare in the Benedictus of Haydn’s Missa in Angustiis. Even Johannes Brahms, known for his absolute music, composed Triumphlied during the Franco-Prussian War, around 1871. The third movement contains rhythmic and musical motifs that could represent the galloping of a horse, which is based on the second coming of Christ riding in on a white horse described in the book of Revelation. However, Ramírez’s Misa Por La Paz y La Justicia takes a different approach.
Rather than stirring the listener up with his music, he seeks to instill calmness and hope, and even nostalgia for Argentina before the war.
Some of Aaron Copland’s orchestral works demonstrate similar approaches. In the early
1940’s, Aaron Copland composed three major works, Fanfare for the Common Man (1942), A
Lincoln Portrait (1942), and Appalachian Spring (1943), during the time when Americans became involved in World War II. These three works were emblematic of the culture and landscape of the United States of America.27 Four decades later, Ariel Ramírez embraced this same approach by incorporating traditional folk dances, such as the Cueca and Malambo, and folk tunes, such as Baguala and Triste, within his Misa Por La Paz y La Justicia, just as Copland used folk dance and folk tunes in his ballet Appalachian Spring. Another similarity between both Copland and Ramírez is their use of a narrator. In A Lincoln Portrait, Copland uses a speech by Abraham Lincoln, while Ramírez uses a speech by Pope John Paul II in his work.
Lastly, in Copland’s Fanfare for the Common Man, Copland was inspired by a speech given by
Vice-President Henry A. Wallace. This also is similar to Ramírez’s inclusion of Pope John Paul
27 Ibid., 123. 15
II’s message of peace. By incorporating those elements, Ramírez’s Mass enjoys a unique position within the body of late twentieth-century mass composition.
In light of today’s world conflicts, wars, and unrest, a mass based on the ideas of peace and compassion is sorely needed. Music is a way for all humans to connect, especially during troubling times such as war.28 Consequently, Ramírez’s composition remains relevant as a provision for peace unto the mind, body and soul and to the ideal proffered by Pope John Pual II, that in order to reach peace, people must be able to teach peace.
28 Baruch Whitebead, “We shall Overcome: The Roles of Music in the US Civil Rights Movement,” in Music and Conflict Transformation: Harmonies and Dissonances in Geopolitics, ed. Oliver Urbain (London: I. B. Tauris, 2008), 78. 16
CHAPTER 3 MISA POR LA PAZ Y LA JUSTICIA: ANALYSIS OF TEXT
Each of the movements in Misa Por La Paz y La Justicia is part of the Catholic liturgy.
Unlike Ramírez first Mass, Misa Criolla, which only utilizes the Ordinary Mass as basis for the text, his second mass utilizes both the Ordinary Mass and the Proper Mass. The Ordinary Mass contains specific liturgical texts that remain the same in every service. They are: Kyrie, Gloria,
Credo, Sanctus - Benedictus, and Agnus Dei. The parts of the Proper Mass change depending on the liturgical calendar, the feasts of saints, and other ceremonies. In Misa Por La Paz y La
Justicia, Ramírez includes five movements that represent the Proper Mass: Introduction,
Responsorial Psalm, Hallelujah, Homily, Communion, and Psalm 150.
Within each of these movements Ramírez employs both biblical and non-biblical text.
Passages of biblical text, within the mass, are either sung by the tenor soloist and/or chorus or spoken by the narrator. The only movement that contains non-biblical text is found within the fifth movement, “Homilía" (Homily). The narration, found in several movements, creates a different texture from the singing within the overall Mass. The printed score, by Warner
Chappell Music Argentina, states, “Ariel Ramírez preferred the spoken texts to be recited in the language of the country of performance, so that the public could understand it.”29
Out of all the movements that contain a narration, the fifth movement uses a speech by
Pope John Paul II. The speech was given on January 1, 1979, which was the first World Day of
Peace during his papacy. In this speech, Pope John Paul II expressed that society must be able to
29 Ariel Ramírez, Misa Por La Paz y La Justicia, (Buenos Aires: Warner Chappell Music Argentina S.A.I.C., 2001), 5. 17
teach peace in order to reach peace.30 Ramírez utilizes parts of Pope John Paul II’s speech as narration in the “Homilía” (Homily). Since the homily is the portion of the Mass where the pastor offers his own thoughts to the congregation, it is appropriate that the Pope, as pastor to his congregation in the whole world, offers his thoughts on peace to support the entire theme of the
Mass.
Ariel Ramírez collaborated with Father Antonio Osvaldo Catena on the movements that correspond with the Proper Mass. The score also indicates that Félix César Luna collaborated with Catena and Ramírez in the fifth movement, “Homilía.”31 With the help of these two men, the textual structure of Misa Por La Paz y La Justicia provides a unique expression of Ramírez’s desire for peace and order in a time of social and political disturbance.
Introducción
The text used in the “Introducción” begins with the narrator speaking an adaptation of the text from Jeremiah 31:15. The text from the Bible states that Rachel is weeping for her children in the city of Ramah, but cannot be comforted because they have all perished.32 Father Osvaldo
Catena adapted the Bible verse replacing Rachel with “padres y madres" (fathers and mothers).
30 Pope John Paul II. “To Reach Peace, Teach Peace” Message of His Holiness Pope John Paul II for the Celebration of the Day of Peace on January 1, 1979. http://w2.vatican.va/content/john-paul-ii/en/messages/peace/documents/hf_jp- ii_mes_19781221_xii-world-day-for-peace.html (accessed on January 25, 2017). 31 Ariel Ramírez, Misa Por La Paz y La Justicia, (Buenos Aires: Warner Chappell Music Argentina S.A.I.C., 2001), 89. 32 The Student Bible, New International Version (Grand Rapids: Zondervan Publishing House, 1992), 699. 18
He replaced Ramah with “el mundo” (the world). Once the narrator has finished his last statement, the music concludes the “Introducción” and segues into the tenor soloist’s opening words “Señor Dios, ten piedad de nosotros” (Lord God, have mercy on us).
Señor, ten piedad de nosotros (Kyrie)
The words from the Kyrie come from the Gospels of the New Testament when Jesus heard the cry for mercy. In Matthew 15:22, a Canaanite woman asked for Jesus to help heal her daughter from demon-possession.33 In Mark 10:46, Bartimaeus cried out to Jesus to heal him from blindness.34 A third instance is found in Luke 18:38, when a blind beggar calls out to
Jesus.35 The request for mercy is shown to be fulfilled by Christ each time He is asked.
The Kyrie is the first prayer that is sung within the Ordinary Mass. Most of the musical structure of the Kyrie is in ternary form (ABA) with each line as a three-fold statement. Ramírez takes a different approach to the ternary structure of the Kyrie by inserting additional words, provided by Father Osvaldo Catena. With these additional sections to the Kyrie, the form becomes AABA CDC AEA.
The first Kyrie is sung by the tenor soloist. Ramírez takes the opening line and divides into three parts. The first part has the complete statement “Señor Dios, ten piedad de nosotros”
(Lord, have mercy upon us). The second part has the tenor soloist repeating the last four words
33 The Student Bible, New International Version (Grand Rapids: Zondervan Publishing House, 1992), 871. 34 Ibid, 902. 35 Ibid, 934. 19
“ten piedad de nosotros” (have mercy upon us). He ends the solo with “de nosotros” (upon us).
When the lower four voices enter at measure 36, the Kyrie is heard for a second time. This time the words are not divided up, as heard by the tenor soloist. As the sopranos enter at measure 39, the idea of a final third Kyrie is expected. Instead, Ramírez adds the text, “Señor, que te hiciste hombre para reunir, a los hijos de Dios, dispersos por el pecados” (Lord, who became man to unite God’s children, dispersed by sin). In this statement, the text expresses the idea that the
Lord became human to unite all humankind, regardless of sin. Ramírez restates the first Kyrie at measure 43, ending his AABA version of the three-fold statement (See Table 3.1).
Table 3.1. Three-fold Kyrie
Kyrie A A B A tenor soloist chorus chorus chorus Señor Dios, ten… Señor, ten… … hiciste hombre… Señor, ten…
The Christe, eleison contains a two-fold statement, with newly written text in the middle section (See Table 3.2). The first Christe is sung by the tenor soloist, with the chorus singing underneath on a neutral vowel. The solo line sings the opening Christe in the same manner as the opening Kyrie. The first part has the complete statement “Cristo, ten piedad de nosotros”
(Christ, have mercy upon us). In the second part the tenor repeats the last four words, “ten piedad de nosotros” (have mercy upon us). He ends the statement with “de nosotros” (upon us).
Unlike the Kyrie where the chorus enters after the soloist, Ramírez continues the tenor soloist line stating “Cristo, que derramaste tu sangre” (Christ, who shed your blood). The chorus enters with “para el perdón y la paz” (for forgiveness and peace). The complete phrase is restated with the chorus singing the first part and the tenor soloist singing the second part. Ramírez ends the
20
two-fold Christe at measure 58 with the chorus singing the words “Cristo, ten piedad de nosotros” (Christ, have mercy upon us).
Table 3.2. Two-fold Christe
Christe C D C tenor soloist tenor soloist & chorus chorus Cristo, ten… … tu sangre… Cristo, ten…
Ramírez concludes the movement with a two-fold Kyrie in the same format as the Christe
(See table 3.3). The tenor soloist sings the opening of the Kyrie in the same manner as the first
Kyrie found at measure 32. The only difference is that the chorus sings underneath the soloist on a neutral vowel. Just like the Christe, the middle phrase (E) of this section has different words.
The tenor soloist enters at measure 64 with “Señor, que enviaste al Espiritu Santo” (Lord, who sent the Holy Spirit). The chorus concludes the statement with “para hermanar a todos los pueblos” (to unite all people). Just as in the middle section (D) of the Christe, Ramírez restates the middle statement (E) with the chorus singing the first part and the tenor soloist singing the final part. Ramírez concludes the movement with the chorus singing the final two-fold Kyrie at measure 74.
By combining the traditional Kyrie text and the words by Father Antolino Osvaldo
Catena, Ramírez’s Kyrie expresses an understanding that both Christ’s blood and His Holy Spirit were given in order to receive blessings. From these blessings comes a message of joy and thanks that Ramírez sets to music in his second movement, “Gloria a Dios” (Glory to God).
21
Table 3.3. Two-fold Kyrie
Kyrie A E A tenor soloist tenor soloist & chorus chorus Señor, ten… … al Espiritu… Señor, ten…
Gloria a Dios (Gloria)
“Gloria a Dios” (Glory to God) is the second movement in Ramírez’s Misa Por La Paz y
La Justicia. The text used for this movement comes from the second part of the Ordinary Mass, which is sung during all liturgical occasions, except for Missa pro defunctis (Mass for the dead).
Divided into five sections (hymnus angelicus, acclamations, invocations, petitions, and doxology), the Gloria movement contains one of the longest texts in the Mass of the Ordinary.36
Ramírez deviates slightly from the order by incorporating a second hymnus angelicus before the doxology.
The beginning text of the Gloria is known as hymnus angelicus (angelic hymn) because it comes from Luke 2:14 when the multitude of angels appeared unto the shepherds.37 Ramírez repeats this beginning text twice before moving into the acclamations. Each of the five acclamations are repeated twice. The first four acclamations, “Te alabamos” (We prasie you),
“te bendecimos” (we bless you), “te adoramos” (we worship you), and “te glorificamos” (we glorify you), are sung in sequential order. Afterwards, the chorus repeats the same four acclamations. The fifth acclamation, “te damos gracias por tu inmensa Gloria” (we give thanks
36 Ron Jeffers, Translations and Annotations of Choral Repertoire - Volume I: Sacred Latin Texts (Corvallis: Earthsongs, 1988), 50. 37 The Student Bible, New International Version (Grand Rapids: Zondervan Publishing House, 1992), 914. 22
to you for your great glory), is sung by the chorus and tenor soloist repeated twice. Ramírez transitions into the invocations. The first invocation “Señor Dios. Rey Celestial. Padre
Todopoderoso” (Lord God, Heavenly King. God the Father almighty) is sung by the chorus.
The tenor soloist completes the remaining text of the invocations. The petitions are in sequential order. Both the tenor soloist and chorus alternate sections of the petitions until the final statement “ten piedad de nosotros” (have mercy on us) is sung by the tenor soloist. The text returns to the hymnus angelicus, which follows the same structural pattern as before. The final fifth section, doxology, is presented in a responsorial style with the chorus singing “Sólo Tú”
(only you) and the tenor soloist completing the remaining words of the doxology “Porque sólo
Tú eres Santo” (For only you are Holy).
The movement concludes in a multitude of sung “Amens” by the chorus, with the final
“Amen” being sustained the longest. The conclusion of the second movement also ends the first portion of the Mass of the Ordinary. The third movement continues the Mass of the Proper,
“Salmo reponsorial” (Responsorial Psalm).
Salmo responsorial
“Salmo responsorial” is the first movement in Misa Por La Paz y La Justicia that is part of the Mass of the Proper. The words come from Psalm 85 and Psalm 72.38 The first scripture,
Psalm 85, indicates that the Lord will teach peace to His people. The second scripture, Psalm 72, states that the Lord will defend the meek and humble, as well as condemn their oppressors. As indicated in the title of the movement, parts of each of the Psalms are performed in a responsorial
38 Ariel Ramírez official website (arielRamírez.com) states that the text comes from Psalms 84 and 71. 23
mode. The structure of a Responsorial Psalm includes a cantor or choir to sing part of the verse, which is followed by a congregational response. Because Misa Por La Paz y La Justicia does not involve the participation of a congregation, Ramírez substitutes the chorus in its place as the response to the tenor soloist, as well as the narrator. Ramírez also reverses the traditional structure by having the chorus sing the response first, followed by the verses.
As the movement begins, the opening text expresses the idea of water, in the form of either dew or rain, enriching the Earth as God’s justice rains down upon His people. The statement also indicates that this justice will open the earth and emerge from the land. Neither
Psalm 85 nor Psalm 72 has any correlation to this concept of water as God’s justice. Only in
Isaiah 45:8 is there any reference to water showering the Earth as a way for the land to open and salvation to spring up.39 However, this verse refers to the water as God’s righteousness rather than God’s justice. Ramírez may have adapted Isaiah 45:8 as part of the chorus's response to the
Psalm verses from Psalms since the text is very similar. Regardless, the focal points of this movement come from Psalm 85:8-9, sung by the tenor soloist, and Psalm 72:4, spoken by the narrator.
The message reveals that through the words of Christ, peace and salvation will come unto the community who learns Christ’s teachings. Ramírez divides the text into two parts. The first part, the Lord teaching peace to His people, accompanies the tenor soloist with the bombo and the 12-string guitar. As the second part begins, Ramírez eliminates all instruments to change the texture of the music. The choir becomes the accompaniment by joining the soloist to express the message of salvation for His community.
39 The Student Bible, New International Version (Grand Rapids: Zondervan Publishing House, 1992), 646. 24
The narrator speaks the second scripture, verse 4 from Psalm 72. The overall focus of
Psalm 72 offers a celebration and a blessing for King Solomon. Verse 4 states that the king will defend and help his people, as well as condemn their oppressors. In the scripture, the word he indicates an Earthly king. However, Ramírez’s use of “El” (He) alludes to a Godly king. With this reference to a Godly king, Ramírez uses Psalm 72:4 to convey the concept of God’s eternal help. This verse is only spoken as a complete phrase by the narrator. Afterwards, the tenor soloist and chorus restate the second half of the verse “condenará a sus opresores…” (He will condemn their oppressors…).
The movement concludes with the return of the choral response on a neutral vowel, instead of the text. By omitting the choral text at the end of the movement, the final statement sung by the tenor soloist and chorus, “hará reinar la paz y la justicia” (peace and justice will reign), becomes the focal point for the whole movement. With the closing of this movement, shouts of acclamation and joy begin the fourth movement, “Aleluia” (Alleluia).
Aleluia
The fourth movement text comes from one of the beatitudes in the Sermon on the Mount.
Ramírez employs the seventh statement, “Blessed are the peacemakers, for they will be called sons of God.”40 The movement begins with shouts of “Alleluia” sung by the tenor soloist and chorus. As the chorus continues the song of joy, the tenor soloist sings about Jesus glorifying the builders of peace. The movement concludes with one final “Alleluia” sung by the soloist.
40 The Student Bible, New International Version (Grand Rapids: Zondervan Publishing House, 1992), 859. 25
Homilía
In the fifth movement, the “Homilía” (Homily) is when the word of God is explained to the people.41 This combination of texts by Félix César Luna, Father Antonio Osvaldo Catena, and a speech given by Pope John Paul II establishes the idea that peace can be fulfilled when the people of God learn to teach peace.
Employing the structure and character of the Zamba dance for the homily, the text naturally divides into two parts to parallel the dance. Each part contains two narrations and three choral parts. Ramírez applies the choral part as a reflection on the spoken words by the narrator.
Because the first section is a cappella, Ramírez’s underlays the narration with the chorus singing unified vowels and vocal percussion sounds, such as “tum” and “Pompo.” Ramírez begins the movement with the chorus asking God to shower the world with peace “derrame paz en la creación” (shower peace upon the world), followed by the narration. Ramírez employs Pope
John Paul II’s opening words of welcome as the first narration. The words describe the idea that if peace is to be desired, then peace must come from the heart.42 This statement is followed by the chorus asking for more words of comfort. Ramírez begins the second narration with the
Pope addressing the people personally. In this second narration, the Pope shares his idea that all men and women are called by God to form a single family.43 Even if peace among the people
41 Semblanzas Productiones, “Obras: Misa Por La Paz y La Jusitcia,” Sitio Oficial de Ariel Ramírez, http://www.arielramirez.com/obra3.htm (accessed December 12, 2016) 42 Pope John Paul II. “To Reach Peace, Teach Peace” Message of His Holiness Pope John Paul II for the Celebration of the Day of Peace on January 1, 1979. http://w2.vatican.va/content/john-paul-ii/en/messages/peace/documents/hf_jp- ii_mes_19781221_xii-world-day-for-peace.html (accessed on January 25, 2017). 43 Ibid. 26
becomes disrupted, the people need to know that in Christ they can find hope for peace. Ramírez ends the first section with the chorus reflecting on the words of the Pope with statements of
“danos tu paz” (grant us your peace).
Between the two sections, an eight-measure piano and organ duet serves as a transition.
After the duet, the text continues in a cappella style. The chorus begins the second section continuing to ask for peace to the world. The third narration explains that through hard work and united actions, peace is attainable, followed by a choral response. The final narration, that the people of God must forgive their enemies and not be afraid to teach peace to others, provides a conclusion to the Homily. The chorus ends with “danos tu amor, danos tu paz” (grant us your love, grant us your peace) as a finale to this movement.
Creo en Dios (Credo)
Ramírez’s sixth movement, “Creo en Dios” (I believe in God), integrates the Spanish
Credo text with little alteration. The scripture text is divided between the tenor soloist and the chorus. The opening begins with a poly-textual layering between the baritones, sopranos and contraltos, and tenor soloist. The text is first set by the baritones singing “Padre Todopoderoso”
(Father Almighty). Sopranos and contraltos add on top of the text “Creador de cielo y la tierra”
(Creator of Heaven and Earth). The tenor soloist joins the chorus with “Creo en Dios” (I believe in God). Within the entire Mass, the beginning of the sixth movement contains the only compositional form to use a poly-textual style. After all three statements have been made,
Ramírez repeats the poly-textual form this time beginning with the baritones, sopranos, and contraltos. Once the opening Spanish Credo has been restated, Ramírez continues the traditional text without alterations.
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Because the sixth movement is based on the Malambo dance44, Ramírez has two instances when the chorus sings percussive sounds, such as “pa,” “pom,” and “tum”. These vocal sounds have no correlation to the Credo text, but add to the imagery of horse hoofs and the stomping of dancers’ feet. This use of choral percussive sounds creates a tone color that enriches the accompaniment by the percussion ensemble.
Santo es el Señor (Sanctus)
The seventh movement, “Santo es el Señor” (Holy is the Lord), derives its text from the
Latin Sanctus - Benedictus. The movement is divided into two sections. The first half contains the Spanish Sanctus. It opens with the chorus singing continuously on the word “Santo” (Holy) before the tenor soloist begins the main text. The second half begins after a four-measure interlude by the quenas and sikus. Ramírez repeats the Spanish Sanctus before concluding the text with the Spanish Benedictus.
Although Ramírez does incorporate a short four-measure phrase of choral percussive sounds in the second section by the tenors and basses before the Spanish Benedictus, the tone color of this movement does not change, unlike the choral percussive sounds in “Creo en Dios.”
The absence of two against three rhythmic patterns causes the choral percussive sounds in “Santo es el Señor” to blend into the text without any change in the tone color of the movement.
44 Malambo is folk dance that originated in the rural areas of northern Argentina. The dance is a pantomime fight by two or more cowboys. The male dancers create the sounds of horses’ hooves by clicking their heels and stomping their feet. 28
Cordero de Dios (Agnus Dei)
Aside from the opening four measure piano introduction, the eighth movement is based off the text from the Agnus Dei and is unaccompanied. The message from “Cordero de Dios”
(Lamb of God) returns to the idea of mercy that was first stated in the opening movement
“Señor, ten piedad de nosotros” (Lord, have mercy on us). The Spanish Agnus Dei maintains the same form as the Latin Agnus Dei. However, the original text of the Latin Angus Dei states a plural form of the word “sins.” Ramírez uses a singular noun “el pecado” (the sin). This is different from his first Mass, Misa Criolla (Creole Mass), where he employs the plural form.
With the use of the singular noun in Misa Por La Paz y La Justicia, Ramírez returns to the speech by Pope John Paul II, where he expresses the idea that the original sin was the break between God and man, and brother and sister.45
Comunión
The word “Communion” (or Holy Communion) is a term used by Protestant churches to describe the rite of the breaking of bread and drinking from the cup, also known as the Lord’s
Supper. Catholicism uses the word Eucharist, the Latin verb “to give thanks,” to indicate the rite itself.46 However, the act of eating the bread and drinking from the cup is referred to as
Communion in the Catholic service. Ramírez titles his ninth movement “Comunión”
45 Pope John Paul II. “To Reach Peace, Teach Peace” Message of His Holiness Pope John Paul II for the Celebration of the Day of Peace on January 1, 1979. http://w2.vatican.va/content/john-paul-ii/en/messages/peace/documents/hf_jp- ii_mes_19781221_xii-world-day-for-peace.html (accessed on January 25, 2017). 46 Eugene LaVerdiere, The Eucharist in the New Testament and the Early Church, (Collegeville, MN: The Liturgical Press, 1996), 1. 29
(Communion), to indicate that the physical action of taking the bread and drinking from the cup is the action that people must take to create peace and justice in society.
The text is set up as a dialogue between the Lord and those who come to the table before
God. The dialogue is set up as four invitations by the Lord to his people. The first invitation by the Lord is the welcoming of all people to the Lord’s table. The Lord invites the people to eat the bread and drink from the cup. Also found in the second section is the Lord inviting the people to look for strength that comes from love and forgiveness. Just as one must take the bread and drink from the cup with physical action, so the physical actions of love and forgiveness are needed to create peace and justice. The third invitation presents the sacrifice of
Jesus Christ on the cross to save people from sin as an inspiration for them to practice brotherly unity. The final invitation, which ends the text, employs the image of God’s heavenly kingdom.
Just as He has created that kingdom, so should people create a new humanity. With the welcoming to the table, the breaking of the bread and drinking from the cup, the inspiration of the sacrifice of Jesus Christ, and the creating of the new heavenly kingdom, the people of God are now to be the symbol of God’s liberation, workers of God’s peace, and disciples of God’s love.
Salmo 150
The last movement of Misa Por La Paz y La Justicia focuses on Psalm 150. In this last chapter of the Book of Psalms, each of the six verses expresses praise to the Lord through the sounds of wind and string instruments, the crashing of cymbals, and the movement of dancing.
The text in the last movement continues the praise of God through the performance of instruments, but Father Osvaldo Catena changes the types of instruments to reflect the
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indigenous instruments of Northwest Argentina. While the Bible describes the praising of God through trumpets and other wind instruments, Father Catena indicates the use of sikus and quenas. He also replaces the praise of harps and lyres with that of charango and guitars.
At the end of the movement, the narrator speaks the words of Revelations 21:1-4. The scriptures express the new Jerusalem descending down from heaven, so that His people may dwell in fellowship within the new city.47 It is through this text that Ramírez ends the Mass with the idea of a new Holy City in which all people will live in peace and harmony together, without the fear of death, sorrow, or pain. To which the chorus concludes with a final shout of
Hallelujah and praise to the Lord.
47 The Student Bible, New International Version (Grand Rapids: Zondervan Publishing House, 1992), 1141. 31
CHAPTER 4 MISA POR LA PAZ Y LA JUSTICIA: ANALYSIS OF MUSIC
Ramírez exhibited great complexity in his first Mass, Misa Criolla, and in several different ways, he does so again in his second Mass. With the exception of “Salmo responsorial,” each movement of Misa Por La Paz y La Justicia is based on a folk dance and/or folk tune. Ramírez uses these traditional musical constructs as the foundation for his unique integration of sacred message in music of the people.
The analysis of each movement will be based on Julius Herford’s method of “bar analysis” as demonstrated in Choral Conducting A Symposium.48 The Herford format allows the conductor to have an overview of each movement. This overview table for each movement will list the musical form, bar number, voice, text, instrument, and tonal key with as much detailed musical analysis as is practical. But as Herford states, “to fully understand a score, the conductor must have the score in hand.”49 A full conductor score is available through Stichting Argentijnse
Muziek.50 With the first and second editions no longer in print, the edition used in this analysis is the third edition.
This chapter will also contain breakdowns of important moments within each movement.
These breakdowns will examine the folk dance or folk tune that is used by Ramírez and its relationship to the indigenous people of the area. Text painting and significant chromatic
48 In Herford’s Choral Conducting A Symphosium chapter 5 is the choral conductor’s preparation of the musical score through the use of charts.
49 Julius Herford and Harold A. Decker, Choral Conducting: A Symposium, (Englewood Cliffs: Prentice-Hall, 1973), 178. 50 Stichting Argentijnse Muziek is a music company in the Netherlands that distributes and provides information on Argentinian music. http://www.argentijnsemuziek.info 32
harmonies will be described in detail. Any musical moment related to liturgical style of singing such as chant will be identified and analyzed. Integration of the narration and the instruments will also be discussed as it relates to the construction of Misa Por La Paz y La Justicia as a whole.
Introducción
Table 4.1. A Herford analysis on Misa Por La Paz y La Justicia: Introducción
Bar: 1 – 3, 4 - 6, 7 - 9, 10, 11 - 12, 13, 14 - 15, 16, (3) (3) (3) (1) (2) (1) (2) (1) Voice: sop. bar. con. con. ten. sop. sop. ten. Text: Neutral vowel until bar 31 Instrument: Key: text- T-P T-P painting(T-P)
Bar: 17, 18 - 19, 20 - 24, 25, 26 - 28, 29, 30, 31, (1) (2) (5) (1) (3) (1) (1) (1) Voice: con. con. bas. con. Text: Narration Instrument: sikus synthesizer bongó piano Key: viiØ4/3 T-P whole tone F#-11 T-P V7b9 V7 scale
The Mass opens with a thirty-one bar introduction for narrator, chorus, sikus, bongó, sintetizador (synthesizer), and piano. The structure of the first movement is divided into two parts. The first part consists of only the chorus, a siku, and a sintetizador (synthesizer). The second part continues with the texture of the first part and adds the narrator, a bongó, and a piano. An adaptation of the text, spoken by the narrator, comes from Jeremiah 31:15.
The first part of the “Introducción” sets the opening lamentations of the Mass. The emotion of sorrow and sadness is expressed through Ramírez’s use of text painting found throughout the first part of the “Introducción.” The text-painting consists of two half-notes that
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are descending by half steps into a sustained whole-note. This chromatic descent on extended whole and half-notes embodies a long lamentation or sigh (See Figure 4.1). Ramírez then uses this emotional atmosphere to set the stage for the text spoken by the narrator.
Figure 4.1. Ariel Ramírez, Misa Por La Paz y La Justicia, “Introducción,” mm. 1-10.
The second part of the “Introducción” begins with the narrator speaking an adaptation of the text from Jeremiah 31:15. It is the underscore of the narration in which Ramírez uses a higher order tertian chord (See figure 4.2). This F#11 chord is the first of many higher order tertian chords found throughout the Mass. The extended chord could possibly indicate a reaching heavenward. The chord could also be considered a poly-chord. The poly-chord is made up of an
F sharp minor triad and a G diminished triad. These two chords create a cluster of dissonance reflective of the spoken text. However, the chord is not stacked as a typical poly-chord in traditional compositional writing. Typical poly-chord composition has the chords stacked on top of each other. This would have the F sharp minor triad on the bottom with the G diminished triad on top. Both chords would share the inharmonic note D flat/C sharp.
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Figure 4.2. Ariel Ramírez, Misa Por La Paz y La Justicia, “Introducción,” mm. 27-31.
Señor, ten piedad de nosotros (Kyrie)
Table 4.2. A Herford analysis on Misa Por La Paz y La Justicia: Señor, ten piedad de nosotros
A Bar: 32 - 35, 36 - 38, 39 – 43 44 - 45, (4) (3) (2+3) (2) Voice: soloist CTBB chorus Text: Señor Dios… Señor, ten… Señor, que… Señor, ten… Instrument: n/a Key: D+: I IV6 - V - V/IV vi6 - V/V - N - V - i bVI - V/V - N - V - I
B Bar: 46 - 50, 51 - 52, 53 - 55 56 - 58, (5) (2) (3) (3) Voice: soloist/chorus soloist - chorus chorus - soloist chorus Text: Cristo, ten… Cristo, que… Cristo, que… Cristo, ten… Instrument: n/a charango n/a Key: I - IV - I - IV V/IV V - I V6/4 - vi7 - V6/4 - IV - I (table cont’d.)
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A’ Bar: 59 - 63, 64 - 68, 69 - 73, 74 - 76. (5) (3+2) (3+2) (3) Voice: soloist/chorus soloist - chorus chorus - soloist chorus Text: Señor, ten… Señor, que… Señor, que… Señor, ten… Instrument: n/a charango n/a Key: I - IV - I - IV V/IV - IV - V V - IV - V V6/4 - I
The Kyrie portion of the Mass begins with “Señor, ten piedad de nosotros” (Lord, have mercy upon us). The texture consists of a tenor soloist, a SCTBB chorus, and the charango. The movement is composed as an unaccompanied Kyrie in three parts. Ramírez utilizes the charango in the second and third part of the Kyrie as transitional moments between the tenor soloist and chorus.
The first part of the Kyrie is centered on the key of D major. The movement opens with the tenor soloist singing a Baguala style on a tonic chord. As the chorus enters at measure 36, the music transitions into a series of extended secondary dominant chords that leads to a
Neapolitan chord in root position at measure 42 (See figure 4.3). It is not common for secondary dominant chords to lead into a Neapolitan chord, however the text reveals that Ramírez used the
Neapolitan chord to emphasize the word “pecado” (sin) before resolving to the dominant chord.
Ramírez also borrows from the natural minor scale. In measure 43, Ramírez uses a minor tonic chord and a lowered major sixth chord. This is a way to prolong the arrival of the major tonic chord at measure 45, before the transition into the second part of the Kyrie.
The remaining two parts of the Kyrie are not as complex as the first part. Both part two and three maintain the tonal center of D major without any extended secondary dominant chords or Neapolitan chords. One point of interest is the use of the subdominant chord and the tonic chord. Although a plagal cadence is used to end the second part of the Kyrie, a constant
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repetition of subdominant and tonic chords is sung by the chorus under the tenor soloist Baguala folk tune (See figure 4.4). This suggests a choral “Amen” underneath the text.
Figure 4.3. Ariel Ramírez, Misa Por La Paz y La Justicia, “Señor ten piedad de nosotros,” mm. 40-43.
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Figure 4.4. Ariel Ramírez, Misa Por La Paz y La Justicia, “Señor ten piedad de nosotros,” mm. 57-60.
Gloria a Dios (Gloria)
Table 4.3. A Herford analysis on Misa Por La Paz y La Justicia: Gloria a Dios
Cueca: A Bar: 1 - 2, 3 - 10, 11 - 18, 19 - 28, (2) (2+2+2+2) (2+2+2+2) (2+2+2+4) Voice: n/a n/a n/a n/a Text: n/a n/a n/a n/a Instrument: elec. guitar + charango Key: D+: I vi - I - V/V - VI vi - I - V/V - VI vi - I - V/V - VI (table cont’d.) 38
A (cont’d.) Bar: 29, 30 – 38, 39 - 47 47, 48 – 56, (1) (1+2+2): (4+4) (1) (2) Voice: soloist soloist/chorus: chorus soloist soloist/chorus Text: Gloria a Dios en el … Y en la… Gloria a Dios en el … Instrument: Full ensemble (- elec. Guitar) Key: E-: V i - III - VI - III - VI iv - V - i - III - i - V V i - III - VI - V/VII
A (cont’d.) Bar: 57 - 62, 63 - 70, 71 - 78, 79 - 86, 87 - 93, (3+3) (1+2+3+2) (2+2+4) (2+2+2+2) (2+2+3) Voice: chorus soloist/chorus chorus Text: y en la Te te Señor Dios… tierra… alabamos… damos… Instrument: Full ensemble
Key: B-: i - V - i chant chant A+: I - IV - I - bIII - bVI - V V
Bridge: Triste: B Bridge: Bar: 94 - 99, 100 - 112, 113 - 128, 129 - 134, (3+1+2) (2+3+2+2+4) (4+3+2+1+6) (4+2) Voice: chorus soloist soloist/chorus soloist/chorus Text: Dios Padre… Señor, Hijo unico… Tú que quitas… Tú que estas… Instrument: 12 string guitar Key: chant E mixolydian A mixolydian chant
Cueca: A Bar: 135 - 152, 153 - 170, 171 - 181, 182 - 188, (3+8+4+3) (1+5+4+4+3+1) (1+5+1) (3+4) Voice: n/a soloist/chorus soloist/chorus soloist/chorus Text: n/a Gloria a Dios… Gloria a Dios… Porque solo… Instrument: Strings Full ensemble ( - elec. guitar) Key: G+: chromatic - V I - IV - V/V - V - I F+: vi - V - I - V G+: IV - I - V - I
A (cont’d.) Bar: 189 - 195, 196 - 199, 200 - 204, 205 - 213, (4+3) (2+2) (2+2) (2+2+2+3) Voice: soloist/chorus soloist/chorus soloist/chorus soloist/chorus Text: Porque solo… Solo Tu… Solo Tu… Solo Tu… Instrument: Full ensemble ( - elec. guitar) Key: E+: ii - V - ii - V I - V I - IV - bIII - V I - V - bIII - V (table cont’d.) 39
Coda Bar: 214 - 217, 218 - 223, 224 – 227. (2+2) (2+2+2) (2+2) Voice: chorus chorus chorus Text: Amen Amen Amen Instrument: Full ensemble Key: E+: V IV - V - bIII - bVII V - I
The second movement, “Gloria a Dios” (Glory to God), is the longest movement within the Mass. The texture incorporates the tenor soloist, the chorus, four string guitarists, and a number of percussion instruments (toms, temple blocks, tambourine, bombo, and jingle bells).
This is also one of two movements that is scored for a folk dance, Cueca, and a folk tune, Triste.
The movement is divided into a ternary form with a coda at the end.
The instrumental introduction expresses the idea of exaltation through music. The Cueca folk dance shifts between the 6/8 pattern and the 3/4 pattern. As the voices enter at measure 30, one would assume that the tune would be in a major key. However, this is not the case. The tonal center shifts from D major to E minor. Ramírez maintains the emotion of joy through the music by incorporating the rhythmic pattern of the Cueca.
This beginning portion also contains a liturgical style of singing found in Catholic churches. Being a devout Catholic, Ramírez incorporates a chant section into this Mass. The chant is not in a traditional format, but more of a polyphonic setting that encompasses only two chords (See figure 4.5). Between measures 71 through 78, Ramírez shifts between a D major and an E major chord. Aside from the pedal E4 in the basses and B4 in the baritones, the tenors and contraltos maintain a close range from the lowest note to their highest note within that passage. Although the sopranos have a slightly larger range, the musical phrase should be viewed as transitional material into a new key and new section. Ramírez incorporates this style
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of chant as the means to transition from the Cueca into the Triste section of the second movement.
The Triste folk dance used in the “Gloria a Dios” is expressed through two mixolydian scales. Both scales, with the lowered seventh, create a feeling of misery and despair. The E mixolydian scale is used as a beginning of prayer by calling out to God in a sorrowful expression
(See figure 4.6). As the text of the Gloria transitions into God taking away the sin of the world,
Ramírez uses an A mixolydian scale (See figure 4.7). It is in measure 114 where the subtonic note is used on the word “pecado” (sin).
It seems that Ramírez creates a unique chord color when the text uses the word “pecado.”
This was previously seen in the Kyrie movement, which incorporated a Neapolitan chord, and will be seen again in the Agnus Dei movement, with the use of a modal mixtures.
The movement concludes with a return to the Cueca folk dance. Like the beginning of the movement, this reappearance of the Cueca is joyful. While this section never shifts into a minor scale, Ramírez does incorporates modal mixtures. During the final “Amen,” these modal mixtures allow each chord to remain in a major triad. This causes, in the key of E major, major triads built on the lowered third and seventh scale degrees (See figure 4.8). By applying the lower third and lower seventh scale degree, the music maintains the joyful acclamations of the Amens sung by the chorus.
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Figure 4.5. Ariel Ramírez, Misa Por La Paz y La Justicia, “Gloria a Dios,” mm. 71-76.
Figure 4.6. Ariel Ramírez, Misa Por La Paz y La Justicia, “Gloria a Dios,” mm. 104-11.
Figure 4.7. Ariel Ramírez, Misa Por La Paz y La Justicia, “Gloria a Dios,” mm. 112-17.
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Figure 4.8. Ariel Ramírez, Misa Por La Paz y La Justicia, “Gloria a Dios,” mm. 219-22.
Salmo responsorial
Table 4.4. A Herford analysis on Misa Por La Paz y La Justicia: Salmo reponsorial
A Bar: 1 - 12, 13 - 16, 17 - 25, 26 – 31, (2+4+2+4) (2+2) (1+2+1+2+3) (2+3) Voice: chorus chorus chorus chorus Text: humming Que el cielo… su rocío… humming Instrument: charango charango Key: text-painting (T-P) (T-P) (T-P)
A (cont’d.) B Bar: 32 - 43, 44 - 53, 54 - 56, 57 - 61, 62 – 66, (5+2+2+2) (2+4+4) (3) (1+2+2) (2+3) Voice: chorus soloist chorus soloist/chorus chorus Text: Que se… El Señor… humming su se llenará… salvación… Instrument: Bombo/Gtr. 12 Key: pentatonic A+: I - IV - V I – V bVI - I6 V - I (table cont’d.)
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A Bar: 67 - 70, 71 - 79, 80 - 85, 86 – 97, (2+2) (1+2+1+2+3) (2+4) (5+2+2+2) Voice: chorus Chorus chorus chorus Text: Que el cielo… su rocío… humming que se abra… Instrument: charango Key: (T-P) (T-P) (T-P) Pentatonic
C Bar: 98 - 102, 103 - 107, 108 - 110, 111 - 114, 115 - 120, (2+4) (4) (3) (4) (3+3) Voice: narrator/chorus soloist/chorus Text: humming El defender… los pobres condenará… la paz y la … Instrument: bombo/ Gtr. 12 bombo Key: A+: I - V I - IV - I - V I – V VI - I I - V - I
A Bar: 121 - 125, 126 – 128, 129 - 130, 131 – 132. (4+1) (3) (2) (2) Voice: chorus Text: [o] [a] [o] [u] Instrument: Key: pentatonic (T-P) (T-P) (T-P)
In the third movement, “Salmo responsorial,” Ramírez does not assign a folk tune or a folk dance. The texture is created by a soloist, a chorus, a narrator, a bombo, a charango, and a twelve-string guitar. The movement is structured in a rondo form. Ramírez composes this movement with the idea of text-painting and the liturgical style of call and response.
The movement begins with the chorus singing about the rain falling from the heavens.
Ramírez evokes the sounds of the wind and the falling of the rain with hums by the tenors and baritones and with the sopranos and altos singing on a unified [o] as a form of textual painting.
(See figure 4.9). As the chorus sings about the Earth, the ground opening up so that the Savior may come forth, Ramírez text-paints the Earth splitting open by building upon one another (See figure 4.10). Aside from the baritones and basses beginning the pattern, each vocal line enters
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one measure later using the same text, rhythm, and pitch. These two text-painting imageries are used three times throughout the movement.
Figure 4.9. Ariel Ramírez, Misa Por La Paz y La Justicia, “Salmo reponsorial,” mm. 9-16.
Figure 4.10. Ariel Ramírez, Misa Por La Paz y La Justicia, “Salmo reponsorial,” mm. 30-36. 45
In section B and section C, Ramírez no longer uses text-painting and firmly sets the tonal key in A major. Although both sections have some differences, they both incorporate the use of call and response. This is seen at the end of each section when the last few words are sung and the chorus responds with the same words (See figure 4.11). Both movements also rely on the tenor soloist and/or narrator to provide the majority of the Psalm reading.
Figure 4.11. Ariel Ramírez, Misa Por La Paz y La Justicia, “Salmo reponsorial,” mm. 61-66.
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Aleluia
Table 4.5. A Herford analysis on Misa Por La Paz y La Justicia: Aleluia
Introduction: Ritmo Toba (continues throughout the movement) Bar: 1 - 4, 5 - 10, 11 - 14, 15 - 21, (4) (3+3) (2+2) (3+4) Voice: TBB chorus full chorus Text: vocal percussion Instrument: percussion and sikus + Sintetizador Key: Perfect 5ths D+: I - I - I - I I - I - I - I - I
A: Baguala B A B Coda Bar: 22 - 29, 30 - 39, 40 - 47, 48 - 59, 60 – 64. (4+4) (4+4+2) (4+4) (4+3+5) (3+2) Voice: chorus soloist/chorus chorus soloist/chorus Text: Aleluia Aleluia Aleluia Felices los que… Instrument: elec. bass and chaschas + Sinth. and Sikus Key: I - I - I - I IV - V - I - vi - I I - I - I - I I - I - I - I iv - bVII - I
The energetic sounds of Ramírez’s fourth movement, “Aleluia,” are expressed through the syncopated sounds of the sikus, as well as the percussive rhythms of the chaschas, cascabeles, and berimbau pequeño (See figure 4.12). Although the Ritmo Toba is not a specific rhythmic pattern, the use of these instruments creates a sense of dance. With the chorus of tenors, baritones, and basses singing an open fifth on D4 and A4, the key of D major becomes the tonal center when the sopranos and contraltos enter at measure 11.
The whole movement remains in the key of D major. This is due to the use of the
Baguala folk tune sung by the sopranos and contraltos at measure 22 and the tenor soloist at measure 30. Ramírez composes the majority of the work based on D, F sharp, and A notes. It is during the last four measures of the movement that Ramírez uses two borrowed chords from the parallel minor, before ending on a D major chord (See figure 4.13). The first chord at measure
60 is a minor subdominant chord as a higher order tertian chord in first inversion. Since the chord is in first inversion, the Bb in the bass line moves upward by a whole step to C natural. As
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C natural is not part of the D major scale, Ramírez uses a bVII, also known as a non-diatonic chord, to resolve into the D chord at measure 62. The bVII acts as a dominant chord. This causes all three chords to ascent upward by whole steps in the bass line to the tonic chord of the movement.
Figure 4.12. Ariel Ramírez, Misa Por La Paz y La Justicia, “Aleluia,” mm. 1-3.
Figure 4.13. Ariel Ramírez, Misa Por La Paz y La Justicia, “Aleluja,” mm. 60-64. 48
Homilía
Table 4.6. A Herford analysis on Misa Por La Paz y La Justicia: Homilía
A B A C Bar: 1 - 4, 5 - 12, 13 - 16, 17 - 24, (4) (4+4) (4) (4+4) Voice: Chorus Narrator/Chorus Chorus Narrator/Chorus Text: El Reino de… A todos vosotros.. Ven, Reino de Queridos… Instrument: Key: D-: i - iv - V/V - i VI - V/V/V - VI - V i - iv - V/V - i i - iv - V/V - V
C (cont’d.) A’ Interlude Bar: 25 - 28, 29 - 32, 33 - 38, 39 - 46, (4) (4) (2+2+2) (4+4) Voice: Narrator/Chorus Narrator/Chorus Chorus Text: Los fracasos… persequidos per Dios de la… Instrument: piano/organ Key: v̈ ø6/5 - V/iv - i - VII iv - v̈ 4/2 - IV - V i - V/V - V/iv - V - i i - V - i - V
A B A C Bar: 47 - 50, 51 - 58, 59 - 62, 63 - 70, (4) (4+4) (4) (4+4) Voice: Chorus Narrator/Chorus Chorus Narrator/Chorus Text: El Reino de… La paz… Ven, Dios… Los Discípulos Instrument: Key: i - iv - V/V - i VI - V/V/V - VI - V i - iv - V/V - i i - iv - V/V - V
C (cont’d.) A’ Bar: 71 - 74, 75 - 78, 79 – 80. (4) (4) (2+2+2+3) Voice: Narrator/Chorus Narrator/Chorus + Narrator Text: No tengáis… El trabajo… Ven nuestra.. Instrument: bombo Key: v̈ ø6/5 - V/iv - i - VII iv - v̈ 4/2 - IV - V i - V/V - V/iv - V - i
Ramírez’s fifth movement, “Homilía,” conveys the message by Pope John Paul II through narration, rather than through choral singing. Most of the movement is sung unaccompanied by the chorus with spoken narration in rondo form. This movement contains two mirroring rondo forms with an interlude performed by the piano and the organ. Ramírez
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also includes a five measure bombo part at measure 75. Although this is an additional texture in the second half, the structure of the harmonies and musical phrases remain the same.
The analysis of this movement demonstrates Ramírez’s ability to move the harmonic chords towards and away from the D minor key. This is expressed at measure 28, when the cadence arrives at a major subtonic chord (See figure 4.14 and 4.15). This chord is used to pull away from the tonic, unlike the leading-tone chord which pulls the chord toward the tonic. By utilizing a major subtonic chord, the four-bar phrase creates the idea of moving away from the minor key. This is then counteracted with the next four-bar phrase that moves the harmonies towards the half cadence at measure 32. This creative use of harmonic motion demonstrates
Ramírez’s innovative use of sound. Even in the second half of the movement, with all the harmonies the same, Ramírez builds upon the texture by adding the bombo, creating a stronger motion towards the half cadence at measure 78.
Figure 4.14. Ariel Ramírez, Misa Por La Paz y La Justicia, “Homilía,” mm. 25-29. 50
Figure 4.15. Ariel Ramírez, Misa Por La Paz y La Justicia, “Homilía,” mm. 30-33.
Creo en Dios (Credo)
Table 4.7. A Herford analysis on Misa Por La Paz y La Justicia: Creo en Dios
Introduction A Bar: 1 - 17, 18 - 21, 22 - 32, 33 - 38, (5+4+4+4) (4) (5+5+1) (3+3) Voice: Baritones only S,C,Bar + soloist Text: Padre del cielo… Padre todo… Creo en Dios… Instrument: piano/percussion + guitars Key: G+: I - IV - I - V I - IV - I - V I - IV - I - V I - IV - I - V
A (cont’d.) Bar: 39 - 44, 45 - 52, 53 - 64, 65 - 74, (4+2) (4+4) (2+3+3+4) (3+4+3) Voice: chorus soloist/chorus chorus chorus Text: y en Jesucristo… que fue concebido… Nació de Maria… Instrument: percussion/piano/guitar/bass guitar Key: I - IV - I - V I - IV - I - V I - IV - I - V I - IV - I - V (table cont’d.)
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B Bar: 75 - 78, 79 - 87, 88 - 91, 92 - 106, (4) (5+2+2) (4) (4+4+2+5) Voice: soloist/chorus soloist/chorus Text: Padecio bajo… Fue crucificado.. Instrument: percussion/piano piano/guitars percussion/piano/bass guitar Key: D+: I - IV - V - I A+: bVII - IV - V - I E-: iv - v̈ - i V
A Bar: 107 - 116, 117 - 122, 123 - 134, 135 – 138, (2+4+4) (3+3) (2+2+2+2+2+2) (2+2) Voice: soloist/chorus chorus soloist/chorus Text: Altercer dia… Subio a los… Padre Todo… Comunión… Instrument: percussion/piano/guitar/bass guitar Key: E+: I - IV - I - V I - IV - I - V V - I - bIII - IV - I - V - I I - IV - I - V
A Coda Bar: 139 - 144, 145 - 150. (2+2+2) (2+1+3) Voice: soloist/chorus chorus Text: la resucreción.. Amen Instrument: percussion/piano/guitar/bass guitar Key: G+: I - IV - V - I D+: I - IV - V/vi - V/v̈ - I
Ramírez begins the second half of the Mass with an energetic Malambo folk tune in his sixth movement “Creo en Dios.” The texture of this movement includes a tenor soloist, chorus, piano, guitar, bass guitar, and five percussion instruments (tambourine, temple blocks, güiro, triangle, and bombo). Ramírez constructs this movement in a ternary form with an instrumental introduction and choral coda.
Out of all the diatonic chords used in a major or minor key, the majority of Ramírez’s sixth movement is the product of three primary chords: tonic (I), subdominant (IV), and dominant (V). Aside from the occasional borrowed chord from the parallel minor, the music maintains the harmonic structure of a Malambo folk tune. The harmonic structure of the
Malambo is the chord progression of IV - V - I. This progression is found in the B section in the
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ternary form (See figure 4.17). But despite the traditional progression, Ramírez changes the layout of the chords so that each subdominant and dominant is followed by the tonic. This chord progression is the bases of the A section (See figure 4.16).
Figure 4.16. Ariel Ramírez, Misa Por La Paz y La Justicia, “Creo en Dios,” mm. 76-81.
Figure 4.17. Ariel Ramírez, Misa Por La Paz y La Justicia, “Creo en Dios,” mm. 1-9.
Santo es el Señor (Sanctus)
Table 4.8. A Herford analysis on Misa Por La Paz y La Justicia: Santo es el Señor
Introduction A Bar: 1 - 4, 5 - 6, 7 - 13, 14 - 22, (4) (2) (2+2+3) (4+4+1) Voice: Baritone/Bass chorus soloist/chorus Text: Santo a, Santo a, Santo, es el Señor Instrument: percussion/charango/elec. bass Key: E-: i - IV i - IV i - IV - VII6/4 - i - IV i - IV - v̈ - IV - i (table cont’d.)
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A (cont’d.) A’ B bridge Bar: 23 – 27, 28 - 31, 32 - 35, 36 - 39, (3+2) (4) (4) (4) Voice: soloist/chorus chorus chorus Text: Lleno está… Cielo y Tierra Hosana en el… Instrument: percussion/charango/elec. bass quenas/sikus Key: i - V/V/III - v̈ iv - i - IV - i i - v̈ - VI - iv - V7 i - v̈ - VI - iv - V
A A’ B B’ Bar: 40 - 53, 54 - 57, 58 - 62, 63 - 70. (4+4+4+2) (4) (5) (5+3) Voice: chorus soloist/chorus soloist/chorus chorus Text: Santo es… Cielo y… Hosana en el… Hosana … Instrument: perc./char/ele.bass char/bass Key: i - v̈ - VI - III - IV - i - v̈ i - IV i - v̈ - iv - VII - V i - v̈ - VI V
The seventh movement, “Santo es el Señor,” is based on the Sanctus in the Mass of the
Ordinary. The texture of this movement involves the tenor soloist, a chorus, quenas, sikus, the charango, the double bass, and three percussion instruments (maracas, tambor with escobillas, and temple blocks).
Ramírez sets this movement in the same musical form as the Bailecito folk dance. This includes an instrumental and choral introduction, a binary melody, and an instrumental bridge.
Although the instrumental bridge separates the binary melody, the bridge uses the same construct as the second half of the binary melody performed by the quenas and sikus.
Two common chromatic harmonies that are incorporated in this movement are the use of borrowed chords from the parallel minor and the use of the extended secondary dominant. With the entire movement in E minor, Ramírez utilizes a major subdominant chord, as opposed to the minor subdominant chord, as a borrowed chord from its parallel key, E major.
Although Ramírez uses extended secondary dominant chords throughout this Mass, he ends this movement with ten secondary dominant chords that begin on a D major chord and end on a B major chord (See Figure 4.18 and 4.19). By doing this, he prolongs the second half of the
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binary melody in order to repeat the last four words of the Sanctus, “Hosana en el Cielo”
(Hosanna in the Heaven). The conductor should take note that there is a typo in the score. In measure 67, the tenors and basses should not move up a half step from an E flat to an E natural.
This would cause the chord to become a diminished tonic.
Figure 4.18. Ariel Ramírez, Misa Por La Paz y La Justicia, Santo es el Señor,” mm 63-70. 55
Cordero de Dios (Agnus Dei)
Table 4.9. A Herford analysis on Misa Por La Paz y La Justicia: Cordero de Dios
Introduction A B A’ Bar: 1 - 4, 5 - 10, 11 - 17, 18 - 20, (4) (2+4) (2+5) (3) Voice: soloist/men’s choir + contraltos chorus Text: Corderro de Dios… el pecado del… Corderro… Instrument: piano Key: A-: i - iio - V - i i - iv - VI - V/III III - v̈ - iio – V/V - V i
B’ A B’’ Bar: 21 - 27, 28 - 29, 30 – 32, 33 - 38. (2+2+3) (2) (3) (4+2) Voice: chorus soloist/men’s choir chorus chorus Text: el pecado del… Corderro de Dios… el pecado del… Instrument: Key: i - VI - v̈ - VI - V i v̈ - V/iv vi - V - i - iiø6/5 - V
“Cordero de Dios,” Ramírez’s eighth movement, is the shortest movement in the entire
Mass. With the exception of a short piano introduction, most of the movement is unaccompanied singing by the tenor solo and chorus. The analysis of the movement does not show any unique harmonies, as the whole movement maintains its center in the key of A minor.
Ramírez follows the format of the Estilo Pampeano with a piano introduction in duple meter followed by the soloist and chorus in a slow compound meter.
Comunión
Table 4.10. A Herford analysis on Misa Por La Paz y La Justicia: Comunión
A B A Bar: 1 - 13, 14 - 17, 18 - 30, (3+3+6+1) (4) (3+3+6+1) Voice: chorus soloist/chorus Text: Vengan a mi altar Voy Señor… Vengan a comer.. Instrument: 12 string guitar/elec. bass + Bombo/guitar 12 string guitar/elec. bass Key: C+: ii7 - V - I V/V/V - I ii - V - I (table cont’d.)
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B C B’ A’ Bar: 31 – 34, 35 - 38, 39 - 43, 44 - 47, (4) (4) (2+3) (4) Voice: soloist/chorus chorus soloist Text: Voy Señor… Señor que… Tómanos Señor Para ser señal… Instrument: + bombo/guitar organ Key: V/V/V - I F+: ii - V- I ii - V - I IV - I - iii - V/V - I
Bridge A B A Bar: 48 - 55, 56 - 68, 69 - 72, 73 - 85, (2+2+2+2) (3+3+6+1) (4) (3+3+6+1) Voice: chorus soloist/chorus chorus Text: Vengan a ofrecer… Voy Señor… Vengan a formar.. Instrument: piano/organ 12str gtr./elec.bass + Bombo/guitar 12str gtr./elec.bas Key: A-: iv - V - i C+: ii7 - V - I V/V/V - I ii - V - I
B C B’ A’ Bar: 86 - 89, 90 - 93, 94 - 98, 99 - 103. (4) (4) (2+3) (5) Voice: soloist/chorus chorus chorus soloist Text: Voy Señor Señor que nuestra Tómanos… Para ser señal… Instrument: + Bombo/guitar organ Key: V/V/V - I F+: ii - V- I ii - V - I IV - I - iii - V/V - I
Unlike the previous movement in which Ramírez stays in one diatonic key, the ninth movement, “Comunión,” shifts between three diatonic keys. These three diatonic keys are C major, F major, and A minor. The texture of this movement includes a tenor solo, chorus, guitar, twelve-string guitar, double bass, piano, organ, and one percussion instrument (bombo).
The analysis of this movement indicates that the structure is in a rondo form. Each rondo form begins in C major and shifts to the subdominant key of F major. Ramírez constructs the movement as a Zamba folk dance, just as he did with the fifth movement, “Homilía.” Both movements incorporate two rondo forms with a piano and organ duet as an instrumental bridge.
The only difference is that the “Homilía” bridge maintains the D minor key of the movement, while in the “Comunión,” bridge shifts into the submediant key of A minor.
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Aside from the sporadic extended secondary dominants, the movement does not use any significant chromatic harmonies or text painting. This may be due to the importance of the text as the driving force. This movement utilizes the largest number of sung text by the chorus of any other movement within the Mass.
Salmo 150
Table 4.11. A Herford analysis on Misa Por La Paz y La Justicia: Salmo 150
Intro. A Bar: 1 - 2, 3 - 10, 11 - 22, 23 - 32, (2) (4+4) (6+6) (6+4) Voice: soloist/chorus Text: Aleluia Alabemos al Señor.. Instrument: bombo guitar/elec. bass Key: D-: i - V/V - iv - i VI - iv - V - V/III - V/V ii - V - III - V - i
B A Bar: 33 - 37, 38 - 48, 49 - 56, 57 - 62, (4+4) (5+3) (4+4) (6+6) Voice: chorus soloist/chorus Text: [u] Bam Aleluia Alabemos al Señor.. Instrument: quena Sikus guitar/elec. Bass Key: i - VI - III - VII - i VI - V/III - i i - V/V - iv - i VI - iv - V - V/iv
A (cont’d.) B Bar: 63 - 68, 69 - 74, 75 - 78, 79 - 87, (2+2+2) (2+4) (4) (5+4) Voice: soloist/chorus chorus chorus Text: Alabemos al… Alabemos al… Aleluia, Alelu [u] Instrument: bombo/ guitar/elec. bass charango Key: iv - V/III - V/V ii - V - i i - V - III - V - i i - V - VI - III
B (cont’d.) A Bar: 88 - 94, 95 - 102, 103 - 108, 109 - 114, (4+3) (2+2+2+2) (2+4) (2+2+2) Voice: chorus chorus soloist/chorus Text: bam Aleluia… Alabemos al… Alabemos al… Instrument: charango bombo/ guitar/elec. bass Key: V - i - III - V - i i - ii - V/V - V - i VI - iv - V - V/iv iv - V/III - V/V (table cont’d.) 58
A (cont’d.) B Bar: 115 - 120, 121 - 124, 125 - 132, 133 - 140, (2+2+2) (4) (5+3) (4+4) Voice: soloist/chorus chorus chorus chorus Text: Alabemos al Aleluia… [u] bam Instrument: bombo/ guitar/elec. bass Key: ii - V - i i - V - III - V - i i - VI - V/III - VII - i III - V - i - V - III - V - i
A B Bar: 141 - 148, 149 - 158, 159 - 170, 171 - 177, (4+4) (5+5) (3+3+3+3) (5+2) Voice: chorus claps narrator + chorus [u] Text: Vi un cielo.. El habitará… Instrument: +piano bom/gtr/elec. bass Key: i - ii - V - V/V - i VI - iv - V/III V/V - ii - III - V - i i - VI - V/III - VI - V
B (cont’d.) coda Bar: 178 - 186, 187 - 194, 195 - 197, 198-201. (5+4) (2+2+2+2) (3) (4) Voice: narrator/ chorus [bam] chorus Text: El secará… Alabemos… Aleluia Aleluia Instrument: bombo/ guitar/elec. bass + piano Key: V/III - V - III - V - i i - V - VI i - VI7 - III6 - iiø6/5 - i6/4 iv7 - V - I
Ramírez ends this Mass with a celebration of music through singing and playing. The tenth movement, “Salmo 150,” is divided into four sections. Each section is composed in binary form. The A section features the chorus and tenor soloist, while the B section showcases one or two instrumental solos. It is only in the fourth binary section that Ramírez begins the A section as a piano solo and ends with narration before entering the B section. Aside from the tenor soloist, narrator, and chorus, Ramírez provides solos for the quena, siku, charango, guitar, and piano. Only the double bass and bombo have a continuous part throughout the movement.
The movement is based on the character folk dance. The majority of the movement is in
6/8 meter, with the coda closing in 4/4 meter. Although the whole movement is in D minor, the excitement of the movement is expressed through the shifting of the metrical feel between 6/8
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and 3/4 every other measure. The only chromatic harmony found within this movement is at the final measure, as Ramírez concludes the Mass with a borrowed tonic chord from D major, creating a Picardy cadence (See figure 4.19).
Figure 4.19. Ariel Ramírez, Misa Por La Paz y La Justicia, “Salmo 150,” mm. 196-201.
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CHAPTER 5 MISA POR LA PAZ Y LA JUSTICIA: FOLK MUSIC
An old Spanish proverb says, “Decidnos las canciones de un pueblo y los diremos sus leyes, sus costumbres y su historia.” This translates to “Tell us the songs of a people, and we will tell you their laws, their customs, and their history.”51 Folk music is a vibrant part of the culture in Argentina, with folk music festivals still being held annually throughout the country.
Ariel Ramírez understood the importance of folk music and incorporated both song and dance into his choral works. Both Misa Criolla and Navidad Nuestra use folk dance and folk song as the basis of each composition. His final choral work, Misa Por La Paz y La Jusicia, is no exception.
Music in the cultural life of today’s Argentina encompasses many genres. One of the strongest is folk music, which is concentrated in the northern part of Argentina. This is due to the colonization of the Europeans in the South forcing the Amerindians to relocate in the north, close to Peru and Chile.52 Over time, the Europeans continued to move inland, where they began to mix with the Amerindians. The Argentinian cultural melting pot began to include Creoles
(individuals with European blood born in South America), Amerindians, and mestizos
(individuals with half European blood and half native blood).
With the colonization of Spain throughout Latin America, missionaries brought the influence of liturgical music. During the establishment of mission villages, called “reducciones”
(reductions), Jesuit missionaries taught natives how to play European music and build musical
51 Eleanor Hague, Latin American Music: Past and Present (Santa Ana, California: The Fine Arts Press, 1934), 61. 52 Robert J. Alexander, An Introduction to Argentina (New York: Frederick A Praeger, 1969), 121. 61
instruments.53 Characteristics of the Roman Catholic Church began to influence many of the indigenous celebrations in the rural parts of the central and Northern provinces of Argentina. As
Catholicism became the dominant religion, folk music began to appear in feast-day celebrations of the saints that included dancing and singing. However, folk music did not influence the
Catholic Mass until post Vatican II, and as a result, Ramírez composed his first Mass, Misa
Criolla. Since then, integration of folk music and folk instruments has become a new art from in the Catholic Mass.
While Misa Criolla has about equal parts folk tunes and folk dance, his Misa Por La Paz y La Justicia, which is divided into ten movements, focuses mostly on folk dance, rather than folk tunes (See table 5.1). Nine out of the ten movements include a folk tune and/or folk dance with the title. The Credo, for example, is titled Creo en Dios - Malambo. Ramírez does incorporate both a folk tune and a folk dance in two movements, Gloria a Dios - Cueca/Triste and Aleluia - Ritmo Toba/Baguala. He also doubles up on a folk tune in two movements. Both the Kyrie and the Aleluia use the folk tune Baguala. Only one movement, Salmo Responsorial, is not influenced by a folk tune or folk dance. By not including a folk tune or folk dance in this movement, Ramírez is able to format the music and text in a responsorial style between the chorus and soloist.
Table 5.1. Song styles and dance rhythms in Misa Por La Paz y La Justicia
53 Ercilia Moreno Chá, “Argentina,” The Garland Handbook of Latin American Music, ed. Dale Olsen, (New York: Garland Publishing, 2008), 389. 62
Mass Ordinary Mass Proper Subtitle Genre Introducción n/a n/a Kyrie: Señor, ten piedad de nosotros Baguala song Gloria: Gloria a Dios Cueca dance Triste song Salmo Responsorial n/a n/a Aleluia Ritmo Toba dance Baguala song Homilía Zamba dance Credo: Creo en Dios Malambo dance Sanctus: Santo es el Señor Bailecito dance Agnus Dei: Cordero de Dios Estilo Pampeano song Communión Zamba dance Salmo 150 Chacarera dance
Baguala
Popularized in the northern part of Argentina, the Baguala is a tune that comes from the
Inca tribes of Peru. Known throughout South America, the tune also comes with other names such as tonada and arribeña. The unison or octave melody is sung during festivals and/or celebrations by a soloist or a small ensemble of men, women, or children.54 During the singing, the indigenous percussion instrument, bombo, accompanies the melody while a small group dances in a circle or semicircle.55
The Baguala is based on a three-tone scale that outlines a triad (See figure 5.1). The melody has quick changes from the high to the low note within the chord. There is no defined
54 Nick Rossi, “Music of Argentina,” Music Educators Journal 59, no.5 (January 1973): 52. 55 Diccionario Folklórico Argentino, 2nd ed., s.v. “Baguala” 63
formal structure of the Baguala, and most of the rhythmic patterns are irregular.56 With no fixed rhythmic pattern, the tune may sustain any part of the triad to emphasize a specific word.
Figure 5.1. Ariel Ramírez, Misa Por La Paz y La Justicia, “Señor ten piedad de nosotros,” mm. 32-34.
Within Misa Por La Paz y La Justicia the Baguala is used twice. The first is found in the opening movement, “Introducción – Señor, ten piedad de nosotros.” Ramírez uses the folk tune as an introduction to “Señor ten piedad de nosotros,” sung by the tenor soloist. In the fourth movement, “Aleluia,” Ramírez also uses the Baguala as part of the tenor solo.
Cueca
The dance style known as Cueca came into the northern part of Argentina from both
Chile and Bolivia. The Cueca is part of a large group of dances known as the “handkerchief dances.” These types of dances can be found throughout South America. The dance is mostly associated with rural culture, similar to the Chilean huaso and the Argentinian gaucho.57 Along with the Cueca, Ramírez uses two other “handkerchief dances” within this Mass. Both the
56 Ziola Gómez García and Victoria Eli Rodríguez, Música Latinoamericana y Caribeña (Habana: Editorial Peblo y Educación, 1995), 124. 57 Jan Sverre Knudsen, “‘With Your Coat On’: The Role of Traditional Chilean Dance in an Immigrant Community,” British Journal of Ethnomusicology 10, no. 2 (2001): 65. 64
Zamba, used in the fifth movement, and the Bailecito, used in the seventh movement, are dances that are known for their use of handkerchiefs.
The dance begins with slow movements, underscored by light instrumental music. As the pair of dancers approaches and recedes from each other, there is occasional joining of hands.
This slow movement lasts about a minute before a sudden change of rhythmic drumming and vocal singing. As the sudden change begins, the dancers commence a type of shuffle step in which the feet begin to stamp rapidly on the ground. Each pair of dancers begins to wave handkerchiefs around while moving towards and away from each other, never physically meeting nor touching each other. Each dancer individually rotates in a small or large circular motion, which is dependent on the amount of space available. When the lyrics of the song conclude the dancers lock arms and continue to walk side by side until the instrumental portion of the music has ended.
The rhythmic pattern is what creates the Cueca dance. The music is primarily in 6/8, with a metrical feel of 3/4 every other measure (See figure 5.2). This means that the pulse would be divided into two within one measure and three in the next. This type of rhythmic pulse is found in other Latin American music such as the sesquiáltera of Mexico, bambuco of Colombia, and albazo of Ecuador.58
Ramírez uses the Cueca as a form of praise and celebration for his second movement,
“Gloria a Dios.” The rhythmic Cueca patterns can be found in both the string and percussion parts.
58 Daniel Sheehy, “Popular Mexican Musical Traditions: The Mariachi of West Mexico and the Conjunto Jarocho of Veracruz,” in Music in Latin American Culture: Regional Traditions, ed. John M. Schechter (New York: Schirmer Books, 1999), 42. 65
Figure 5.2. Ariel Ramírez, Misa Por La Paz y La Justicia, “Gloria a Dios,” mm. 11-16.
Triste
During the nineteenth century, a type of folk song called Triste became popular in the salons of Argentina.59 Sung mostly in a minor key, the text of the Triste expresses sadness, often related to love. The song can be sung as a solo or as a duet, and is usually accompanied by a guitar or charango. The folk song Triste originated in Peru before arriving in Argentina. The tune is sometimes confused with the yaravi, a folk song text that also expresses sadness. Both folk songs are lyrical with slow tempos and with sentimental texts of love, and both are found in binary and ternary form.60
Ramírez uses both the Triste and yaravi in each of the second movements for both Misa
Por La Paz y La Justicia and Misa Criolla. Both Masses use the same text for the Triste and yaravi tunes. Arron Mitchell describes the yaravi tune as a pentatonic scale sung in parallel
59 Zoila Gómez García, Música Latinoamericana y Caribeña, (La Habana: Editorial Pueblo y Educaciòn, 1995), 129. 60 Carlos Vega, Danzas y Canciones Argentinas, (Buenos Aires, G. Ricordi y cía: 1936), 287 - 88. 66
thirds.61 However, Ramírez’s Misa Por La Paz y La Justicia uses the Triste as an E mixolydian mode (See figure 5.3) and an A mixolydian mode (See figure 5.4), while the yaravi in Misa
Criolla uses a pentatonic scale.
Figure 5.3. Ariel Ramírez, Misa Por La Paz y La Justicia, “Gloria a Dios,” mm. 104-11.
Figure 5.4. Ariel Ramírez, Misa Por La Paz y La Justicia, “Gloria a Dios,” mm. 112-17.
Ritmo Toba
The Northeast portion of Argentina is home to the Toba tribe. They live in the Chaco region which is located near Paraguay. The Toba tribe, also known as the Qom tribe, is one of the largest indigenous communities in Argentina.62 The music of the Toba tribe focuses heavily on syncopation and percussion instruments to do the folk dance. There is not a set rhythmic pattern that is associated with the Toba tribe. Ariel Ramíez indicates that the fourth movement,
Aleluja, is in a Ritmo Toba meaning that the rhythm is in the style of the Toba tribe and not in a
61 Aaron Mitchell, “A Conductor’s Guide to Ariel Ramírez’s Misa Criolla” (DMA diss., University of Cincinnati, 2009), 20 - 21. 62 Deborah Schwartz-Kates, “Argentina and the Rioplatense Region,” in Musics of Latin America, ed. Robin Moore (New York: W. W. Norton & Company, 2012), 280. 67
specific rhythmic pattern. Even the score does not indicate a section of the movement to stylize a specific rhythmic pattern. This is unlike his second movement, Gloria a Dios, where he indicates in the music Ritmo de Cueca (See figure 5.2).
This is not Ramíez’s first time writing in the style of the Toba tribe. In 1972, Ariel
Ramíez composed Antiguo dueño de las flechas (The Ancient Owner of the Arrows). This song, for solo voice and bombo, incorporates the style of the Toba tribe. The song is also known as
Indio Toba because of the repetitiveness of those two words. The song has continued in popularity into the twenty-first century so much that a duo called Tonolec decided to update the song with electronic sounds and lyrics in the vernacular of the Qom people in 2005.
Zamba
The fifth movement of Misa Por La Paz y La Justicia uses a folk dance called Zamba.
Although it has the same pronunciation as the Brazilian samba, the two dance styles are very different. The only common link between the two dances is that they both have origins within the African dance culture.63 Aside from the common African ancestry, the Zamba is both rhythmically and musically different. The clothing worn by the dancers is different as well. This dance is part of the handkerchief dance style that is related to the Chilean Cueca and Peruvian zamaCueca. The use of the handkerchief is the prop that symbolizes the intentions and desires between the dancing couples.64
63 Eleanor Hague. Latin American Music: Past and Present, (Santa Ana, California: The Fine Arts Press, 1934), 68. 64 Mark Brill, Music of Latin America and the Caribbean, (Boston: Prentice Hall, 2011), 366. 68
The choreography consists of one or more couples circling each other. The only form of contact is at the end when the couple touches each other in a loving and passionate way. For most of the dance however, each couple moves in and around one another without touching. The gestures made by the individuals with the handkerchief indicate the intentions of the dancer.
Although Zamba is considered a folk dance, historians have also indicated that the Zamba has a structure in song form. The tune is mostly in a 6/8 meter, with moments of hemiolas. The structure of the song includes an introduction before each verse and an instrumental bridge that separates two sections within the song. Ramírez uses this song form structure as the basis for his fifth movement, Homilia (Homily), and his ninth movement, Comunión (Communion).
Malambo
Malambo is dance that originated in the rural areas of northern Argentina. The dance is a pantomime fight by two or more cowboys. The male dancers create the sounds of horses’ hooves by clicking their heels and stomping their feet. Some Malambo dances have the cowboys using two long knives or boleadoras65 that crack as each dancer moves around in figure eights and other circular patterns.66 Although the dance is mostly done at parties and social gatherings,
65 Boleadoras, used in the Malambo dance, is a type of whip that has a rock or stone at the end. The boleadoras, used by ranchers in Argentina, have three rocks or stones covered with leather. The cowboys swing the boleadora towards a charging animal to entwine the front legs. 66 Nick Rossi, “Music of Argentina,” Music Educators Journal 59, no.5 (January 1973): 52. 69
there are known competitions throughout northern Argentina.67 The competition is best described as a “Dance off,” where the last standing dancer wins.
The music of the Malambo contains two characteristics. The first is the dance’s specific use of tempo and meter. Because the dance uses creative movements, the fast tempo in 6/8 meter drives the vigorous dancer to create a show. The other musical characteristic is the chord progression of IV - V - I (See figure 5.5).
Figure 5.5. Ariel Ramírez, Misa Por La Paz y La Justicia, “Creo en Dios,” mm. 76-81.
Bailecito
Bailecito is a festival dance performed in the northwest portion of Argentina. This creole dance consists of pairs of dancers who circle each other while the men wave handkerchiefs and ladies use castanets or handkerchiefs. This form of dance is one of the most popular dance styles in northwestern cities of Argentina.68 The dance has its original roots in Bolivia and southern
Peru and was introduced when European missionaries arrived in that area.
The dancers are accompanied by several instruments and singing. Based on the location of the performance, the accompaniment varies. In Argentina, the Bailecito uses more indigenous
67 Deborah Schwartz-Kates, “Argentina and the Rioplatense Region,” in Musics of Latin America, ed. Robin Moore (New York: W. W. Norton & Company, 2012), 284. 68 Diccionario Folklórico Argentino, 2nd ed., s.v. “Bailecito” 70
instruments, such as the quena and the charango. In Bolivia, the music is accompanied by traditional classical instruments, such as the violin and harp, due to the influence of the missionaries.69 As the music traveled to southern Argentina, the indigenous instruments were replaced by the guitar.
The melody consists of two parts. The first part is a four-measure musical introduction with only an instrumentalist. The second part begins the dance and may or may not include singers. While the musical introduction is being played, the dancers move into place. As the second part begins, the pair of dancers begin circling each other while waving handkerchiefs and/or rhythmically playing the castanets. The music then repeats the opening introduction four times. As the fourth time begins, the dancers lock arms, while continuing to dance in a circle.
Ramírez uses this type of rhythmic dance in “Santo es el Señor” (Holy is the Lord). This corresponds with the “Sanctus” of the Mass of the Ordinary.
Estilo Pampeano
Ramírez sets the eighth movement, Cordero de Dios, in a song style called Estilo
Pampeano, song in the Pampan style. Songs composed in the estilo style contain a subject matter of rural life and have the same stanza structure as décimas, a ten-stanza song known throughout Argentina.70 The estilo song is in two parts. The first part is in a slow duple meter, while the second part is in a livelier triple meter. The Pampan style also includes both duple and
69 Benvenuto, Elenora Lisa Benvenuto, Danzas Folklóricas Agrentinas, (Buenos Aires: Cesarini Hnos. Editores, 1962), 123. 70 Rodolfo Arizaga, Enciclopedia de la música argentina, (Buenos Aires: Fondo Nacional de las Artes, 1971), 127. 71
triple parts, however this is different from just a normal estilo style in that the two parts are in the same slow tempo.71
Ramírez uses the estilo pamapeano as his setting for the Agnus Dei for both Misa Criolla and Misa Por La Paz y La Justicia. Although estilo pamapeano is known to have guitar accompaniment, Ramírez uses the piano in both Masses. The difference is that piano is used as an accompaniment for the voices in Misa Criolla, while in the Misa Por La Paz y La Justicia, the piano is used only as an introduction to the movement. After the piano solo, the soloist and chorus sing the text a cappella.
Chacarera
Chacarera is one of the most popular folk dances found in the northwest region of
Argentina. Primarily found in the farms and rural areas, the dance emerged in the nineteenth century.72 The dance uses a moderate to fast tempo in the sesquiáltera rhythmic pattern. The
Chacarera is for only one pair of dancers who move independently from each other without ever interweaving their bodies together. The music is performed by a trio ensemble. Unlike the
Bailecito, which may have several singers singing the song, the Chacarera has one singer. The singer is accompanied by a string instrument, such as the guitar, violin, or harp, as well as some type of rhythmic percussion, such as the bombo. The vernacular of the Chacarera is heard mostly in Spanish throughout Argentina, but in the northwest mountains the singer is known to
71 Oscar Escalada, “Ariel Ramírez’s Misa Criolla.” trans. and ed. Aaron Mitchell. The Choral Journal 49, no. 2 (August 2008): 42. 72 Mark Brill, Music of Latin America and the Caribbean, (Boston: Prentice Hall, 2011), 367. 72
sing in the Quechua language, the native language of the Inca Empire.73 The vocalist indicates each next motion that the dancers should take. This type of vocal caller acts much like the vocal callers of American country square dancing.74
Ramírez uses this style of dance in the last movement “Salmo 150.” The movement contains two characteristics similar to that of the Chacarera. The first is the use of the rhythmic sesquiáltera throughout the movement. The second is the insertion of vocals that indicate the next motion to the dancers. Ramírez incorporates this characteristic by having the text of the music call out the instrumentation between each vocal statement.
Instruments in Misa Por La Paz y La Justicia
Ramírez uses a variety of modern and indigenous instruments to perform Misa Por La
Paz y La Justicia. The conductor should group the instrument ensemble as follows: wind, strings, percussion, and keyboard. Within the wind section, the Mass is written for two quena and three sikus performers. The strings involve five different types of instruments, however only four instrumentalists are needed as one performer will double up on two instruments in the second movement, both the electric and 12-string guitar can be performed by the same person.
The percussion section involves a plethora of handheld and drum instruments. The Mass should include four percussionists in order to perform the sixth movement, “Creo en Dios.” Ramírez composes this Mass for three keyboard parts. However, the Mass can be performed with two keyboardists, one on the piano or harpsichord and the other doubling up on organ and
73 Ibid, 367. 74 Nick Rossi, “Music of Argentina,” Music Educators Journal 59, no.5 (January 1973): 52. 73
synthesizer. Instrumental parts are available by selective distributers with the purchase of a minimum number of choral books.75
Ramírez’s instrumental textures underneath the vocal lines accentuate both the folk tune and rhythmic folk dance. The blend of modern and indigenous instruments creates a unique sound. Unlike his other choral scores, Ramírez provides clear notations for rhythm patterns and chord structures within this Mass. Although the score does not indicate if an instrument should be omitted or be substituted, the comments within the score indicate that Ramírez would use instruments that were available, without harming the ambience of the Mass.76
Wind Instruments
The wind instruments perform a vital part in the tone color of Misa Por La Paz y La
Justicia. Although the Mass requires five wind players, only the seventh movement, “Santo es el
Señor,” involves the wind quintet for a total of four measures. Since doubling occurs within the quintet, the conductor may choose to omit one of the lines.
Sikus
The siku is an indigenous instrument consisting of rows of cane tubes strapped together. This instrument does not have a mouthpiece, requiring the performer to blow across the tops of each cane as indicated by the music. Both in Argentina and Bolivia, the term siku
75 The music distributer, http://www.argentijnsemuziek.info, can provide instrumental parts via .pdf after completing an order of the Mass. 76 Ariel Ramírez, Misa Por La Paz y La Justicia, (Buenos Aires: Warner Chappell Music Argentina S.A.I.C., 2001), 5. 74
comes from the Aymara word for panpipe.77 It is typically made from bamboo cane, but other materials may be used. The siku comprises of two rows of cane stacked on top of each other.
The upper row, Arca superior, contains seven tubes fastened together. The notes of the tubes, from longest to shortest, are D4, F#4, A4, C5, E5, G5, and B5. The lower row, Ira inferior, contains six tubes tied together. The notes of the tubes, from longest to shortest, are E4, G4, B4,
D5, F sharp 5, and A5. Traditionally, the siku is tuned on a C Lydian mode.
Ramírez’s Misa Por La Paz y La Justicia calls for three players on a siku. The
“Introducción” and “Aleluia” can be performed on the traditional tuning of the siku. However, in “Santo es el Señor,” the instrument itself requires an additional tube to play a D#5. This movement also necessitates one siku to be made an octave higher in comparison to the other two sikus. The final movement of the Mass, “Salmo 150,” also includes a siku. The siku needed for this movement should be tuned to an F Lydian mode with a range from A5 to A7.
Outside of South America, the siku is an instrument that is uncommonly available or taught. Conductors who are interested in this Mass may consider having the siku part performed on a soprano wood recorder.78 The instrumentalist should not use any vibrato when blowing through the recorder.
77 James McKinnon, et al., "Panpipes." Grove Music Online. Oxford Music Online, http://www.oxfordmusiconline.com (accessed January 03, 2017). 78 Wood reorders are recommended to ensure a wood pipe tone quality. Plastic recorders may have a bright focus pitch that would not suit this Mass. 75
Quena
One of the principal instruments of native Argentinians is the quena.79 Just like the siku, the quena does not have a mouthpiece. The sound is produced by a stream of air passing over a notch at the top of the instrument. Traditionally quenas are made from wood or cane. Other materials include bone, clay, or metal. The front of the quena can have a variety of finger holes, between two to seven, while the back of the instrument only has one hole. Although the modern quena has been adapted to be able to play a chromatic line, the indigenous instrument was used to play pentatonic melodies.80
Ramírez uses the quena in two movements: “Santo es el Señor” and “Salmo 150.” Both movements are scored for two quenas, performing at the same time. Because the quena is not a common instrument outside of South America, modern flutes may be used. The timbre of the flute provides the same tone color as the quena.
String Instruments
The string instruments that are needed for this Mass include one guitar, one 12-string guitar, one electric guitar, and one double bass or electric bass. The work also includes the charango, a small Indian guitar. Other than the charango, the four modern string instruments can be performed by three instrumentalists. One of the performers will double up on electric and 12- string guitar.
79 Nick Rossi, “Music of Argentina,” Music Educators Journal 59, no.5 (January 1973): 51. 80 Ibid. 76
Since folk tunes and folk dance create the uniqueness of this Mass, the guitarist should understand the different types of rhythmic folk patterns required. The score aids the instrumentalist by providing the names of the rhythms along with the strumming directions.
Ramírez includes a guitar part in “Gloria a Dios” (ritmo de Cueca), “Creo en Dios” (ritmo de
Malambo), Comunión (ritmo de Zamba), and “Salmo 150 (ritmo de Chacarera81).”
The second movement, “Gloria a Dios,” is the only portion of the Mass that includes the electric guitar. This movement calls for a switch to the 12-string guitar at measure 100. Because the electric guitar is only in one movement, the conductor should find an instrumentalist who can play both the electric and the 12-string guitars.
The 12-string guitar is found in three movements of the Mass. Neither the “Gloria a
Dios” nor “Salmo responsorial” requires a lot of playing. In contrast, the “Comunión” has the
12-string guitar play throughout, with the inclusion of several short solo moments.
Six out of the ten movements require a double bass or an electric bass guitar. Ramírez only provides a few instructions regarding this string instrumentation. The score states that both
“Creo en Dios” and “Santo es el Señor” should be performed on the double bass. The last movement calls for bowing at the end of “Salmo 150,” which implies that the double bass is also needed to conclude the Mass. Aside from these three instructions, the conductor should determine which instrument best suits the color of each movement.
81 Although the score does not indicate “ritmo de Chacarera,” the guitarist should strum in the same rhythmic style as the bombo. 77
Charango
The charango is a small Indian guitar, with close relations to the mandolin. The body of the instrument is made from the shell of an armadillo which is fitted to a wooden frame.82 The charango has five to ten strings that are made of metal, nylon, or gut. The strings are tuned so that the first and third are on the third of the chord, the second on the sixth of the chord, the fourth on the first of the chord, and the fifth on the fifth of the chord.83
Five out of the ten movements incorporate this indigenous instrument. The charango is the only instrument used for “Señor ten piedad de nosotros.” Ramírez uses this instrument to signal that he is deviating from the traditional a cappella Kyrie. The sounds of the charango underscore and bring attention to his use of the non-traditional Kyrie text. The second movement, “Gloria a Dios,” is one of the most challenging for the charango instrumentalist. The movement contains two solos which require the instrumentalist to pluck and to strum the melody in a rapid tempo. The next movement, “Salmo reponsorial,” uses the charango sporadically.
The same four measures are repeated four times throughout the movement. In “Santo es el
Señor,” the charango is used throughout the movement as an accompaniment to the voices.
During the final movement, “Salmo 150,” the charango plays a 16-measure solo. Just like the solo in “Gloria a Dios,” the charango must pluck and strum the melody.
Because the charango is a traditional folk instrument specific to Latin America, conductors may often not find a charango specialist within their region. Other string instruments, such as the guitar, ukulele, or mandolin, may be used as a substitute for the
82 Nick Rossi, “Music of Argentina,” Music Educators Journal 59, no.5 (January 1973): 51. 83 Diccionario Folklórico Argentino, 2nd ed., s.v. “charango” 78
charango. If a guitar, or other string instrument, performs the charango part, the conductor should research the use of different types of strings such as nylon, metal, gut or other material.
By having a different type of string, the timbre and tone performing the charango part will be different from the sound qualities of the other string instruments.
Percussion Instruments
The number of modern and indigenous percussion instruments needed for Misa Por La
Paz y La Justicia, surpasses that of his first Mass, Misa Criolla. A minimum of four percussionists are needed since both “Creo en Dios” and “Santo es el Señor” have four percussion instruments playing simultaneously. Although most modern percussion instruments are readily available, the indigenous percussion instruments may prove to be more difficult to find. Percussionists may substitute a modern instrument for an indigenous instrument.
However, the conductor should consult with the percussionist so that the timbre and/or color is closely related to that of the indigenous instrument.
Improvisation is also allowed within the percussion parts.84 However, Ramírez does indicate several specific rhythmic patterns within each movement that the percussionist should abide by (See figure 5.6). This figure depicts Ramírez’s rhythmic pattern for the bombo in the second movement “Gloria a Dios.”
84 Ariel Ramírez, Misa Por La Paz y La Justicia, (Buenos Aires: Warner Chappell Music Argentina S.A.I.C., 2001), 5. 79
Figure 5.6. Ariel Ramírez, Misa Por La Paz y La Justicia, “Gloria a Dios,” mm. 28-32
Bongó
The bongó, a small Afro-Cuban percussion instrument, consists of two different sized drums. The timbre of each drum can be manipulated based on the placement of the hand on top of the drum. Although the bongó is an adaptation of the African drum, the instrument was invented in Cuba as a call to freedom.85 Found only in the “Introducción,” Ramírez uses the bongó as a call for mercy prior to the opening tenor solo “Señor Dios ten piedad de nosotros.”
Maracas
The maracas are two pear-shaped containers with wooden handles. Both containers are filled with a variety of materials, such as dried peas, fruit pits, or rice. The indigenous maraca is made from a hollowed-out dried gourd.86 The maracas are used in performing the seventh movement, “Santo es el Señor.”
85 Ned Sublette, Cuba and its Music: From the First Drum to the Mambo (Chicago: Chicago Review Press, 2004), 338. 86 Birger Sulsbrück, Latin-American Percussion: Rhythms and Rhythm Instruments from Cuba and Brazil, trans. Ethan Weisgard (Copenhagen: Den Rytmiske Aftenskoles Forlag, 1986), 21. 80
Chaschas or Pezuñas
Needed for the fourth movement, Aleluia, the chaschas is one of three instruments used to make the unique sounds required by Ramírez. The chaschas, also known as the pezuñas
(goat’s nails), consists of small materials that, when rubbed together, create a rattle sound.
Unlike that of the maracas, the small materials of the chaschas are not confined within a container. Therefore, the sound is entirely different. Although the chaschas is a common instrument in Latin America, it may be difficult to find for performances elsewhere. The sound can therefore be reproduced by other materials that gently rattle, such as the cabasa or the shekere.87
Berimbau pequeño
The berimbau is a single-stringed percussion instrument of Afro-Brazilian origin. The instrument consists of a long piece of bowed wood that is connected on each end with a metal wire, a coin, or a stone touching the metal wire, and a hollowed-out gourd, which acts as a resonator when pressed against the chest. While the percussionist’s dominant hand holds the instrument, the other hand strikes the metal wire with a baqueta88 while holding a Caxixi.89 As the stick strikes the wire, a metallic pitch is produced. Depending if the stone is pressed against
87 Ariel Ramírez, Misa Por La Paz y La Justicia, (Buenos Aires: Warner Chappell Music Argentina S.A.I.C., 2001), 5. 88 Baqueta means drumstick in Portugueses, the stick is often made of wood, and rarely metal. 89 The Caxixi is a sealed straw basket that contain pebbles or small shells. The sound produces a rhythmic rattle closely related to the maracas. 81
the wire or detached from the wire, the tone changes. The size of the berimbau will determine the pitch.
The fourth movement, “Aleluia” is the only movement that calls for the berimbau. The score does not indicate any specific pitch, but rather specifies the size of the berimbau. Ramírez scores the movement for “Berimbau pequeño” (small berimbau). Past recordings indicate that the small berimbau is pitched on D or A, which is the tonic or dominant note in the D major scale. The metallic and almost twang-like sound of this instrument adds to the folk music tone of the movement. The instrument needs to be played by a percussionist who understands the intricacies of holding the instrument as well as playing the instrument. Because the berimbau produces such a unique sound, finding a substitute for this instrument is challenging. One substitute that the conductor may exchange for the berimbau is the jaw harp. Although the jaw harp is not a single-string percussion instrument, the tone that the jaw harp produces closely resembles the sound of a berimbau.
Pandeiro con palillos
The pandeiro is a single-headed tambourine fitted with jingles. The jingles are made of two metal discs that are paired together. The instrument can be played with an open or closed tone, depending if the left hand is dampening the sound underneath the tambourine.90 However,
Ramírez requests that the tambourine be played “con palillos” (with sticks) to imitate the sound
90 Birger Sulsbrück, Latin-American Percussion: Rhythms and Rhythm Instruments from Cuba and Brazil, trans. Ethan Weisgard (Copenhagen: Den Rytmiske Aftenskoles Forlag, 1986), 68. 82
of the cowboy’s spurs.91 The percussionist should strike the rim with the sticks, avoiding the head of the tambourine. Found in the sixth movement of the Mass, “Creo en Dios,” the pandeiro provides a style unique to the Malambo folk dance.
Güiro
A popular Cuban percussion instrument is the güiro. The cylinder, a hollowed-out calabash gourd, contains ridges on one side, so that a stick travels over the ridges in one direction. Modern güiro are made of wood and figerglass.92 If the güiro has holes in the back, then the instrument can be performed horizontally. If no holes are available, the instrument should be performed vertically. By holding the güiro vertically, the percussionist can move the güiro and the stick in opposite directions allowing an even balance in sound and less strain with the hand holding the stick.
The only movement that calls for the güiro is “Creo en Dios.” For this movement, the percussionist will alternate between the güiro and the triangle. Although the güiro is a common instrument found in modern orchestras, the score indicates that the guacharaca may also substitute for the güiro.93
91 Ariel Ramírez, Misa Por La Paz y La Justicia, (Buenos Aires: Warner Chappell Music Argentina S.A.I.C., 2001), 97. 92 John Schechter, “Güiro,” Oxford Music Online, Oxford University Press, http://www.oxfordmusiconline.com (accessed October 22, 2017) 93 Ariel Ramírez, Misa Por La Paz y La Justicia, (Buenos Aires: Warner Chappell Music Argentina S.A.I.C., 2001), 4. 83
Triángulo
The triángulo (triangle) is a modern percussion instrument that is found in two movements within the Mass. Ramírez scores the triangle in “Creo en Dios” and in the final measure in “Santo es el Señor.” Since the triangle plays at alternating times with the guiro in
“Creos en Dios,” a single percussionist can play both instruments.
Toms
The toms (tom-toms) are made up of two single-skinned, metal-shelled drums. This modern instrument is only used in the second movement, “Gloria a Dios,” for the first 11 measures.
Temple blocks
Temple blocks come in a set of five hollowed-out wood blocks, roughly tuned to a pentatonic scale.94 Ramírez uses the temple blocks on three out of the ten movements. Each movement, “Gloria a Dios,” “Creo en Dios,” and “Santo es el Señor,” calls for only two blocks to be used. The conductor should determine which two temple blocks sound appropriate in each separate movement.
Bombo Legüero
One of the most often used instruments in Argentina folk music is the bombo legüero
(Argentine big drum). The cylindrical-shaped drum is hollowed out of a tree trunk. Goat or
94 Stephen Primatic, Percussion Methods: An Essential Resource for Educators, Conductors, and Students (Milwaukee: Hal Leonard, 2015), 64. 84
sheep skin create the drumhead that is attached over the frame with sinews or string.95 Because the drumhead uses animal skin, the tone color when stuck by a mallet or hand tends to be dark.
If a substitute is needed, a low tom or a floor tom with a muffled head can be used.96
Since the bombo legüero is one of the most popular percussive instruments used in
Argentina folk music, Ramírez incorporates this instrument for more than half of the Mass. Each movement that contains the bombo legüero, other than “Salmo responsorial,” and “Homilía,” calls for a folk rhythm. In the “Gloria a Dios,” the folk rhythm is based on the Cueca. Ramírez indicates which eighth-note is to be struck on the aro (rim) or parche (head). The rhythm pattern should be in line with the charango and guitar. In “Creo en Dios,” Ramírez calls for the drum to have the rhythmic patterns of the Malambo sureño (southern Malambo). As the only percussive instrument in the ninth movement, “Comunión,” the music is written with a Zamba rhythm. The final movement, “Salmo 150,” opens with a bombo legüero solo. As the full chorus enters,
Ramírez has the drum strike a rhythmic Chacarera.
Platillo
Found only in the second movement, “Gloria a Dios,” Ramírez includes a cymbal part.
Platillo or címbalo (saucer or cymbal) is a common instrument used in the percussion ensemble.
The movement calls for a suspended cymbal roll over five measures. The conductor should determine the amount of vibrational freedom needed for movement of the cymbal itself. A
95 Nick Rossi, “Music of Argentina,” Music Educators Journal 59, no.5 (January 1973): 51. 96 Aaron Mitchell, “A Conductor’s Guide to Ariel Ramírez’s Misa Criolla” (DMA diss., University of Cincinnati, 2009), 50. 85
suspended cymbal on a straight stand will produce less vibrational freedom, whereas a gooseneck stand would allow maximum vibrational freedom.97
Tambor
The tambor, Spanish for snare drum, is a common modern percussion instrument.
Ramírez calls for the snare drum in two movements. First found in the second movement,
“Gloria a Dios,” the snare drum reinforces the “Ritmo de Cucea" (Cueca rhythm) that is also being performed by the bombo, charango, and guitar. The snare drum part then returns in the seventh movement, “Santo es el Señor.” In this movement, Ramírez indicates in the score that the snare drum is to be played with “escobillas” (brushes).
Cascabeles
Ramírez scores the cascabeles for both “Gloria a Dios” and “Aleluia.” The literal translation of cascabeles is jingle bells. In the modern percussion ensemble, sleigh bells is the term used for jingle bells. Both movements indicate that the sleigh bells are to be rattled over several measures. Ramírez does not indicate any specific style in which the sleigh bells should be played, leaving it up to the conductor to guide the percussionist.
Keyboard Instruments
Ramírez includes three keyboard instruments. Each keyboard instrument is used sporadically throughout the Mass. A minimum of two keyboard players is needed to perform
97 Stephen Primatic, Percussion Methods: An Essential Resource for Educators, Conductors, and Students (Milwaukee: Hal Leonard, 2015), 50. 86
this work. For the piano part, Ramírez suggests that the performance may be played on the piano or the harpsichord. As for the organ and the synthesizer, both parts can be played by the same person as the instruments are never played simultaneously.
Piano o Clave
Because the piano part may be played on the piano or harpsichord, the conductor should determine what is available for the performance. Depending on the movement, the conductor may even use both instruments. Ramírez is noted to have used both instruments in a single performance of Misa Criolla.98 Although the harpsichord is not traditionally a folk instrument, the tone has similar qualities to the harp. By including a lute stop on the harpsichord, it will muffle the sound to create a closer folk style tone. Although both instruments would add a lot to the Mass, the piano was used during the recordings.
Ramírez scores the piano part in six out of the ten movements. He uses the piano in three ways (See table 5.2): first as part of the introduction, second as a duet with the organ, and third as a solo. The first movement uses the piano as part of the introduction before it segues into the
Kyrie. In the fifth movement, Ramírez composed a piano and organ duet. The next movement,
“Creo en Dios,” features the piano part in a significant solo role. After these three uses of the piano have been completed, Ramírez repeats the process. In the sixth movement, “Cordero de
Dios,” Ramírez uses the piano as part of an introduction prior to the tenor soloist and chorus singing. The “Comunión" then uses the piano as part of a duet with the organ. Ramírez ends the
Mass with the piano part playing a solo role towards the end of “Salmo 150.”
98 Aaron Mitchell, “A Conductor’s Guide to Ariel Ramírez’s Misa Criolla.” (DMA diss., University of Cincinnati, 2009), 57. 87
Table 5.2. Use of the piano in Misa Por La Paz y La Justicia
Form: A B C A B C Title: Introducción Homilía Creo en Cordero de Comunión Salmo 150 Dios Dios Type: Introduction Duet with Solo Introduction Duet with Solo organ organ
Órgano
Like the harpsichord, the organ is not a traditional folk instrument that would have been used in folk music nor folk dances. The organ is a traditional European instrument that was introduced to Latin America during its colonization. Since Misa Por La Paz y La Justicia is a
Mass, Ramírez may have included an organ part with the idea that most Catholic churches would already have an organ in the building. If the performance hall or church sanctuary does not have an organ, a synthesizer can be programed to have the sounds of an organ. This way the keyboardist can play both the organ and synthesizer part.
The organ part only plays in two out of the ten movements. In both “Homilía” and
“Comunión” the organ is in a duet with the piano part. When the duet is being performed, the organ acts more as an accompaniment to the moving melody of the piano part.
Sintetizador
The synthesizer can create unique and colorful sounds. Most synthesizer instruments have the capability of generating different instrumental sounds, such as the organ or strings.
Ramírez uses the synthesizer as a pedal tone in both the “Introducción” and the “Alleluia.” Each movement sustains a low pedal bass drone over several measures. In both movements, the synthesizer establishes the D major key. If a synthesizer is not available, the part may be played on the low pedals of the organ. 88
CHAPTER 6 MISA POR LA PAZ Y LA JUSTICIA: CONDUCTING AND REHEARSAL ISSUES
This chapter provides a starting point for the study, preparation, and performance of Misa
Por La Paz y La Justicia. With works that involve indigenous instruments and folk rhythms/tunes, conductors are more likely to consider the lack of resources as too big an obstacle for performance. However for those who would not have acess to these indigenous instruments there are appropriate substitutions of modern classical instruments that should encourage performances of this Mass, based on the research in chapter five. Chapter six will delineate both conducting and rehearsal issues for each movement of the Misa Por La Paz y La Justicia.
Although not every issue will be addressed, efforts will be made to address as many issues regarding conducting and rehearsal as possible. These interpretive ideas related to performance and rehearsal are, of course, suggestive, but based on a thorough understanding of the work.
Consequently, the chapter will serve as a resource so that more conductors will choose to perform this Mass as a whole, or to perform individual movements from within this Mass. The conductor’s score that will be used for this chapter was obtained through Stichting Argentijnse
Muziek. With the first and second editions no longer in print, the score utilized is the third edition. The company also provides practice CDs for the chorus.
Introducción
Conducting Issues
There are a few conducting issues when preparing this movement. First, the score does not indicate any vocal markings for the singers at the beginning. This offers different musical
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options on how the opening number should be interpreted. Two types of singing may include a unified vowel such as [ɑ] or the chorus to sing boca chiusa (closed mouth).
For the majority of this movement, Ramírez does not indicate any variation on the way an instrument is to perform. However, in this first movement Ramírez writes in a specific request for the way the sikus is to phonate on the instrument (See figure 6.1). The score indicates “sin notas definidas, solamente el aire” (without specific notes, only the air). The siku player should create a tone that is lighter and airy than the specific G note written in by Ramírez.
Figure 6.1. Ariel Ramírez, Misa Por La Paz y La Justicia, “Introducción,” mm. 11-16.
Lastly, the spoken words of the narrator and the rhythmic beats of the bongó must find a balance. The percussive sound of the bongó should be an echo and also interrupt the narration of the words. Because the narration is five phrases long, the bongó plus the text-painting within the contralto line must fit within the narration. The phrase “porque ya están muertos” (because they are already dead) must end at the beginning of measure 30. This will clearly prepare the bongó entrance and conclude the movement with the piano establishing an A7 Dominant chord in the key of D major.
Rehearsal Issues
Since the opening does not indicate any sign of vocalization, there are two styles in which the chorus can begin (See figure 6.2). The chorus can enter on a neutral vowel or the chorus can 90
begin on a hum which can transition into a neutral vowel. Each choice will be considered separately.
Figure 6.2. Ariel Ramírez, Misa Por La Paz y La Justicia, “Introducción,” mm. 11-16.
By having the chorus enter on a neutral vowel, the chorus should enter on an aspirated h or a light glottal sound. Both express great qualities in choral singing. The aspirated h will allow the chorus to enter with a softer and lighter voice. The downside is that the chorus might enter under pitch with much less energy. This could create a domino effect that would leave the whole movement in a different key by the end of measure 31. A light glottal sound would create a unified entrance between each vocal line. The downside is that the score indicates that each voice line must enter on a pianissimo dynamic. A light glottal sound tends to be more present in sound than the aspirated h. By allowing each voice line to enter on a hum, it will reduce any harsh attacks and be ideal for singing pianissimo.
The hum can be produced in two ways: as boca chiusa (closed mouth) or the ‘ng’ [ŋ], as in the word ‘sing,’ with the mouth open. In view of the fact that the hum does not project, the 91
singers should not remain on the hum for too long. The hum should transition into a soft neutral vowel within one measure.
As each vocal line enters, the chorus must keep the focus of the pitch centered. Because the voices are entering independently and without the assistance of an accompaniment, the tendency is for the chorus to dip the pitch flat when descending by half-steps.
Once the chorus has established a strong descending half-step technique, the text painting phrases must be prominent. With the voices identifying the text-painting within the music, the chorus will become more aware about which part needs to be prominent. The text-painting contributes greatly to the “imitando llantos" (imitating lamentations) which will evoke the desired setting for this mass. Ramírez indicates the text-painting as two half notes descending by half-steps within a measure (See figure 6.3). These two descending half notes by half-steps expresses to the listener the idea of the people of Argentina sighing.
Figure 6.3. Ariel Ramírez, Misa Por La Paz y La Justicia, “Introducción,” mm. 11-16.
At the beginning of the second portion of the “Introducciòn,” the narrator and bongó are introduced into the texture of the ensemble. The words of the narrator and the rhythmic clicks of the bongó should interweave with each other. This interweaving should also include the text- painting found in the contralto line at measure 29 (See figure 6.4). In looking at the text, words such as “Un inmenso clamor” (An immense clamor) should act as a conducting cue to bring in the bongó at measures 25 and 27. At measure 28, the bongó should enter when the text states
“son los padres…” (they stem from the fathers…). This way the bongó will conclude by the 92
time the narrator says “que lloran a sus hijos” (who cry for their children). As a means of bringing out the text-painting at measure 29, the narrator should reach the word “consuelo”
(consolation) before the contraltos begin their half-step descent to E natural. As the contraltos reach the end of this phrase, the narrator finishes the text on “muertos” (dead). This cues the bongó for its final percussive role as a lead into the piano’s entrance on an A7 dominant chord at measure 31.
By establishing the importance of text-painting, the idea of the whole tone scale, and the balance between text and bongó, the “Introducción” sets the tone of the Mass. This will lead into the opening tenor solo in “Señor, ten piedad de nosotros” (Lord, have mercy upon us), which firmly sets the Mass in the key of D major.
Figure 6.4. Ariel Ramírez, Misa Por La Paz y La Justicia, “Introducción,” mm. 11-16.
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Señor, ten piedad de nosotros (Kyrie)
Conducting Issues
In conducting the Kyrie movement, one logistical issue is the tempo. As the
“Introducción” segues into “Señor, ten piedad de nosotros,” the tempo should remain the same.
However, the tenor solo line should be expressive and allowed to interpret the opening four- measure solo. Because the solo sets the tone of the movement, a secco-recitative style of conducting should be applied. When the soloist re-enters at measure 46, the chorus should maintain the tempo singing softly underneath the melody. It is at the anacrusis of measure 51 where tempo needs to adjust to the duet between the tenor soloist and charango. This meter reappears at measures 59 through 66.
Rehearsal Issues
There are a few rehearsal issues that might pose a problem for the chorus in this movement. The first rehearsal issue is the distinction between a sixteenth-note anacrusis and an eighth-note anacrusis by the chorus (See figure 6.5). When the lower four voices enter at measure 36, a sixteenth-note anacrusis is indicated. In contrast, when the full chorus begins the next phrase, at measure 39, an eighth-note anacrusis is used. The third phrase, at measure 43, indicates a sixteenth-note anacrusis. To ensure that the music is clear on what type of anacrusis is to be sung, a breath mark that mirrors the anacrusis will aid in the entrance of the chorus. This would omit the tied eighth-note at measure 38, allowing the four lower voices a full eighth-note prep before measure 39.
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Figure 6.5. Ariel Ramírez, Misa Por La Paz y La Justicia, “Señor ten piedad de nosotros,” mm. 35-39.
The transitioning of the rhythmic music should be taken into condsideration (See figure
6.6). At measure 54, the upper three voices demonstrate a rhythm meter that moves from four sixteenth notes, into a triplet meter, and into two eighth-notes. This short passage may cause rhythmic problems for the chorus. Once the chorus understands the rhythm passage, text should be added to emphasize the direction of the phrase to the downbeat of measure 55 on the word
“sangre” (blood).
Figure 6.6. Ariel Ramírez, Misa Por La Paz y La Justicia, “Señor ten piedad de nosotros,” mm. 53-56. 95
Gloria a Dios (Gloria)
Conducting Issues
The second movement, “Gloria a Dios,” has two conducting issues that should be looked at before a rehearsal. The first is the two-over-three polyrhythm. This type of rhythm is common in Ramírez’s Misa Por La Paz y La Justicia. This movement begins in a clear 3/4 meter by the electric guitar and charango, and continues with the guitar entrance at measure twelve when the Cueca rhythm starts (See figure 6.7). It is not until measure 29 when the soloist and chorus enter in a 3/4 meter with the Cueca rhythm meter underneath that the two-over-three polyrhythm begins. Although conducting in a two meter will help with the rhythmic feel of the instrumentalist, a three meter will help keep the soloist and chorus together. The use of the three meter should be utilized throughout the movement, being that the chorus never sings in the
Cueca rhythm style.
Figure 6.7. Ariel Ramírez, Misa Por La Paz y La Justicia, “Gloria a Dios,” mm. 25-32. 96
The second conducting spot is at measure 100. For seventeen measures the music consists of the tenor soloist accompanied by the twelve-string guitar. Because of the slow tempo, it would be best for the guitarist to follow the tenor soloist.
Rehearsal Issues
There are two spots that may pose a problem for the chorus. The first problematic moment will be at measure 117 when the chorus enters a cappella (See figure 6.8). Prior to the choral entrance, Ramírez sets the music to the folk tune Triste with an A mixolydian vocal line by the tenor soloist. Underneath the chorus is the electric guitar playing a dominant A7 chord.
When the chorus enters, all fit into the dominant A7 chord with the exception of the contraltos.
Figure 6.8. Ariel Ramírez, Misa Por La Paz y La Justicia, “Gloria a Dios,” mm. 112-18.
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The other is a rhythmic passage at measure 73 (See figure 6.9). Up to this point the chorus has been singing in a compound meter. However, for one bar, the chorus will sing a duple meter over the 6/8 compound rhythmic meter of the charango and guitar. Once the chorus understands the rhythm passage, text should be added to emphasize the direction of the phrase to the downbeat of measure 74 on the third syllable of the word “bendecimos” (we bless).
Figure 6.9. Ariel Ramírez, Misa Por La Paz y La Justicia, “Gloria a Dios,” mm. 71-76.
Salmo responsorial
Conducting Issues
There will be three major conducting issues that will need to be looked at within
Ramírez’s third movement, “Salmo responsorial.” Within the first 42 measures, Ramírez uses five fermatas. Each fermata can be gesticulated in three different ways: fermata with a cesura, 98
fermata with a lift, or fermata with a continuation. Because the chorus is singing part of the
Psalm as well as singing on unified vowels, all three types work well. The fermata with the cesura, would fit best when the chorus transitions from a neutral vowel into the text and vice versa (See figure 6.10). By doing a cesura, a clear break in the music is established and the focus becomes the next part, be that text or neutral vowels. With the majority of the fermatas using a cesura, there are a few moments within the movement where a lift or continuation are appropriate. The use of a fermata with a lift is optimal when the text is repeated (See figure
6.11). By using the lift, the importance of the text is emphasized. The use of the fermata with a continuation only applies at measure 59 (See Figure 6.12). Ramírez indicates that the chorus should sustain the A major chord into measure 60. By having a fermata with a continuation, the tenor soloist is able to take more liberty at measure 60.
The entrances of the duet and trio vocal lines within the chorus will be another conducting issue. Each duet and trio has the baritones and basses singing the text with the soprano and altos singing on a neutral vowel. Although there are times the sopranos and altos echo the text by the men’s chorus, the only vocal line that sings both the text with the baritones and basses and the neutral vowel with the sopranos and altos is the tenor line.
Figure 6.10. Ariel Ramírez, Misa Por La Paz y La Justicia, “Salmo Responsorial,” mm. 9-16. 99
Figure 6.11. Ariel Ramírez, Misa Por La Paz y La Justicia, “Salmo Responsorial,” mm. 37-41.
Figure 6.12. Ariel Ramírez, Misa Por La Paz y La Justicia, “Salmo Responsorial,” mm. 56-60. 100
Rehearsal Issues
The “Salmo responsorial” will prove to be a difficult movement to rehearse due to the complexity of all the a cappella sections within the movement. Although the charango and the twelve-string guitar play sporadically throughout the movement, the majority of “Salmo responsorial” is unaccompanied.
Without opening instrumental music, the men’s chorus needs to be able to enter without pitches being provided. The beginning of the movement opens with the tenors and baritones.
With the last chord of the “Gloria a Dios” ending on an E major chord, the tenors will need to move down a major six from an E5 to a G4, while the basses move down a perfect fifth from a
B4 to an E4. Aside from vocal muscle memory, the tenors and baritones should focus on the bass note E4 at the end of “Gloria a Dios.” The baritones should be able to start on the E4, and the tenors can enter a minor third higher on a G4. This process of finding pitches prior to an entrance will help the chorus and not waste too much time during rehearsals, especially since
Ramírez scored this movement with duets and trios of choral sections. This opening section is repeated twice before the movement concludes.
A rehearsal issue that needs to be attended is at measures 100 through 110. The music and the spoken words by the narrator need to fit before the tenor soloist enters on the anacrusis of measure 111.
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Aleluia
Conducting Issues
The fourth movement, “Aleluia,” is the shortest movement within the whole Mass.
Because the “Aleluia” does not indicate any tempo changes or mixed meter, the movement only has one conducting issue.
The quick tempo throughout the movement and its relationship to the rhythmic meter by the instrumentalists will prove to be an issue for this movement. The chaschas, berimbau pequeño, and the two sikus express the rhythmic drive at the start of the movement. It is not until a few measures later when vocal percussion are added to the texture that the active tempo may slow down. The singers and instrumentalist should maintain the rhythmic pules until the tenor soloist enters.
Rehearsal Issues
Although the music moves quickly, a few rehearsal issues might arise within the instrumental and vocal sections. The first is to make certain the two sikus understand the rhythms of the first two bars (See figure 6.13). Although Ramírez does not specifically state in this movement a Ritmo Toba, the first two opening measures of syncopation provide an idea of the native music by the Toba tribe.
Figure 6.13. Ariel Ramírez, Misa Por La Paz y La Justicia, “Aleluia,” mm. 1-3.
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Ramírez uses vocal percussion to express the music in a different tone color. This movement is the first instance where Ramírez utilizes vocal percussion. The chorus should produce a sound that is similar to the sound of a percussive instrument. In the Aleluia movement, the vocal percussion begins at measure 5 (See figure 6.14). As the basses sing the word “tum,” the sound needs to directly move to the nasalized “m” consonant. By doing this, the basses begin to sound like the bombo instrument.
As for the tenors and baritones, they sing through a series of vowels. This style of singing is not so much a vocal percussion, but more like a vocal wind instrument. Each vowel should not be sung with a glottal stop, but rather slide from vowel to vowel without expressing a specific vowel. By doing this the tenors and baritones create a unique sound that closely resembles the didgeridoo99.
Figure 6.14. Ariel Ramírez, Misa Por La Paz y La Justicia, “Aleluia,” mm. 4-7.
99 The didgeridoo is an indigenous wind instrument commonly found in Australia. 103
Homilía
Conducting Issues
In conducting the “Homilía,” the main concern will be the timing. Although the narration is placed above the musical notation, the timing is inexact, and therefore requires more specific placement within the metric notation of the chorus. The movement has four spots for narration.
The first phrase is from measures 5 through 12. When the chorus arrives on the second beat of measure 6, the narrator should start the third sentence in the narration. By measure 9, as the tenors enter, the narrator should be stating, “tiene necesidad de todas…” (has need of all the…).
The second narration is much longer than the first, with four individual parts. This narration starts at measure 17 and ends at measure 32. When the chorus begins to sing on a neutral vowel, the narrator should immediately begin the narration. The second part begins at measure 21. When the melody is shifted to the tenor line, the narrator should be stating, “a formar una sola familia…” (form a single family…). As the chorus arrives at measure 25 for the third part of the second narration, the narrator should be stating, “Los fracasos no…” (Failures cannot…). The final part comes when the chorus reaches measure 29. The narrator should be stating, “perseguidos por nuestro testimonio…” (persecuted for our testimony…).
The third narration, measures 51 through 58, has the same two-part division as the first narration. When the chorus arrives on the second beat of measure 52, the narrator should start the third narration. By measure 55, as the tenors enter, the narrator should be stating, “pero es, inseparablemente…” (but it is inseparably…).
The narrative begins at measure 63 and concludes at measure 80. Once the chorus enters on a neutral vowel at measure 63, the narrator should begin. When the melody shifts to the tenor line at measure 67, the narrator should be stating, “su propia vida por ellos…” (their own lives
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for them…). By measure 71, the narrator should be stating, “No tengáis miedo…” (Do not be afraid…). The final line by the narrator should be at measure 75 with, “El trabajo por la paz…”
(Working for peace…).
Rehearsal Issues
In the fifth movement, Ramírez scores the narration with two styles of a cappella choral singing underneath. One style has the upper three choral voices singing on a neutral vowel (See figure 6.15). Because the chorus is descending through the circle of fifths, the voices may have a tendency to lower in pitch. This will become problematic when the chorus cadences on a D minor chord at measure 38 and the piano enters at measure 39 on a D minor chord.
Figure 6.15. Ariel Ramírez, Misa Por La Paz y La Justicia, “Homilía,” mm. 7-12.
The other style of a cappella singing involves vocal percussion (See figure 6.16). For unification throughout the Mass, the chorus should keep the same style of vocal percussion that
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was sung during the “Aleluia” movement. This involves having each “tum” directly move to the nasalized “m” consonant.
Figure 6.16. Ariel Ramírez, Misa Por La Paz y La Justicia, “Homilía,” mm. 19-24.
The vocal percussion also creates an additional rehearsal issue. This involves the chorus singing rhythmic meters that are not homorhythmic, but clearly polyrhythmic (See figure 6.17).
In this passage, the two outer voices maintain the 6/8 feel of the whole movement. It is the rhythm within the three middle voice lines that will need some attention. Dividing this section into two parts will help keep a smooth rehearsal. The first section should include the sopranos, baritones, and basses, while the second section should include the contraltos and tenors.
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Figure 6.17. Ariel Ramírez, Misa Por La Paz y La Justicia, “Homilía,” mm. 30-32.
Creo en Dios (Credo)
Conducting Issues
The music in Ramírez’s sixth movement, “Creo en Dios,” contains few conducting issues. The one primary issue comes at the end of the movement when Ramírez begins to alternate between 6/8 and 3/4 metrical feel in the last 28 measures. From the beginning of the movement to measure 122, the music maintains a simple 6/8 meter. It is not until the anacrusis of measure 123 when the music begins to express a Cueca style of dance (See figure 6.18). It is at this point that the music should alternate between the two meter and the three meter as the whole ensemble is in a homorhythmic style.
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Figure 6.18. Ariel Ramírez, Misa Por La Paz y La Justicia, “Creo en Dios,” mm. 123-31.
Rehearsal Issues
The rehearsal issues for this movement are the hemiloas found throughout the movement.
The 3:2 ratio begins right from the start of the movement and is in the piano part. Because
Ramírez was an excellent pianist, he incorporated great complexity in the piano arrangement.
Therefore, the pianist needs to be able to play with the skill of a soloist as well as that of an accompanist. Although the hemiola is primarily found in the piano part, the chorus has moments when the basses sing in a 3/4 meter while the upper voices are in a 6/8 meter. This is most noticeable during the vocal percussion at measures 66 (See figure 6.19).
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Figure 6.19. Ariel Ramírez, Misa Por La Paz y La Justicia, “Creo en Dios,” mm. 66-70.
Santo es el Señor (Sanctus)
Conducting Issues
The conducting issues in the seventh movement involve two abrupt tempo changes. Most of the movement is in a slow two meter tempo. However, Ramírez adds two sections with the tempo marking of lento. The first section begins with anacrusis into measure 36. This four- measure phrase has the quenas and sikus playing. When the full ensemble returns at measure 41, the tempo reverts to the original tempo. The second lento section begins at measure 62 and continues to the end. By conducting both lento sections in a six meter, as opposed to the two meter, the quenas, sikus, and chorus will be able to maintain a slower tempo.
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Rehearsal Issues
One of the main rehearsal issues will be the three against two meter at the beginning of the movement. Although Ramírez has applied the hemiola throughout this Mass, this movement becomes difficult due to the slow tempo. Ramírez maintains the 3:2 ratio for seven measures.
When the soloist enters at measure 14, the rhythmic meter changes between a 6/8 and a 3:2 ratio
(See figure 6.20). Within the rehearsal process, the lower two voices should be separated from the upper three voices. It will be the sopranos, contraltos, and tenors who will need attention as the tenor soloist, baritones and basses sing a 6/8 meter against the upper three choral voices in a
3/4 meter.
Figure 6.20. Ariel Ramírez, Misa Por La Paz y La Justicia, “Santo es el Señor,” mm. 14-19.
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Cordero de Dios (Agnus Dei)
Conducting Issues
Ramírez’s eighth movement, Cordero de Dios,” does not contain as many conducting difficulties as his other movements. The movement opens with a four-bar introduction in 4/4 meter before transitioning into 6/8 meter. The first interpretation involves the piano solo in the first four measures. The piano soloist should be allowed to express the music without any conducting meter. Only when the chorus of men enters at measure 5 should a set tempo be established (See figure 6.21).
Figure 6.21. Ariel Ramírez, Misa Por La Paz y La Justicia, “Cordero de Dios,” mm. 1-5.
The other interpretation involves the tenor soloist at measure 28. The score indicates that the tenor soloist has an eighth-note anacrusis before the baritones and basses sing on an A4 (See
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figure 6.22). In keeping with continuity on how the chorus and soloist enter at measure 5, the baritones and basses, at measure 28, should begin singing an A4 before the tenor soloist enters.
Figure 6.22. Ariel Ramírez, Misa Por La Paz y La Justicia, “Cordero de Dios,” mm. 24-30.
Comunión:
Conducting Issues
The conducting complexities in Ramírez’s ninth movement, “Comunión,” involve the constant mixed meter found throughout. The movement alternates between a 6/8 meter and a 2/8 meter (See figure 6.23). By shifting between these two meters, the rhythmic meter allows a directional approach to the text. This directional approach can use two types of conducting meters. The first is the use of a compound twoF in the 6/8 measure and a one meter in the 2/8 measure. However, due to the slow tempo, a one meter during the 2/8 measure will cause the 112
direction of the music to slow down more. Thus, continuing to apply a two meter during the 2/8 measure will help guide the music forward to the downbeat of the next measure. The music should also allow a pause on beat two during a 6/8 measure followed by a 2/8 measure. This will ensure that the chorus stays together on the anacrusis sixteenth-note before singing on the downbeat of the 2/8 measure.
Figure 6.23. Ariel Ramírez, Misa Por La Paz y La Justicia, “Comunión,” mm. 1-4. 113
In the middle of the movement, Ramírez indicates a lento tempo at measure 44 for the tenor solo line with organ accompaniment (See figure 6.24). Allowing the organist to follow the tenor soloist without any assistance will offer freedom to the solo line. Following the tenor solo is an organ and piano duet (See figure 6.25). This duet is best expressed when the two instrumentalist rely on each other without any assistance from the conductor.
Figure 6.24. Ariel Ramírez, Misa Por La Paz y La Justicia, “Comunión,” mm. 44-47.
Figure 6.25. Ariel Ramírez, Misa Por La Paz y La Justicia, “Comunión,” mm. 48-52. 114
Rehearsal Issues
This movement will be one the of the most difficult movements for the chorus to sing due to the amount of text sung and the intricate rhythms associated with the text. Although there are a few repeated words and moments when the tenor soloist sings, most of the movement is sung by the chorus. Allowing a significant amount of rehearsal time on text and rhythm will ensure the success of the movement.
The loquacious nature of this movement is a result of a dialogue between the Lord and those who come to the table before God: the movement contains a lot of words. Once the chorus is secure with the text and rhythm, the music should not break before the anacrusis into each 2/8 measure (See figure 6.23). By allowing the chorus to stagger breathe each phrase, the musical line becomes a continuous phrase.
The vocal percussion, sung by the chorus at measures 18 through 30, may also prove to be a challenge (See figure 6.26). The chorus should continue the same textual style that was used in previous movements. However, because of the mixed meter in this passage, the chorus may find it difficult to line up with the tenor soloist. This is partly due to the syncopation in the soprano, contralto, and tenor lines. By having the baritones and basses firmly sing the pulse of the passage, the upper three voices are sure to sing the syncopation lines throughout the mixed meter.
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Figure 6.26. Ariel Ramírez, Misa Por La Paz y La Justicia, “Comunión,” mm. 44-47.
Salmo 150
Conducting Issues
Although Ramírez’s tenth movement, “Salmo 150,” does not indicate mixed meter, the movement is based off the Chacarera folk dance which incorporates the metric division that alternates between two beats per measure and three beats per measure. The shifting between a
6/8 meter and a 3/4 meter is evident at the start of the movement (See figure 6.27).
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Figure 6.27. Ariel Ramírez, Misa Por La Paz y La Justicia, “Salmo 150,” mm. 1-5.
This constant shifting will cause several hemiolas throughout the movement. One instance of a hemiola is found at measures 25 through 30 (See figure 6.28). As the tenor soloist is singing the music alternates between the 6/8 meter and the 3/4 meter, the chorus shifts to a pure 3/4 meter. This continues until the anacrusis of measure 29 when the chorus begins to sing the main melody. Although the hemiola happens at measures 25 and 27, the 6/8 meter should continue through those hemiolas.
Even though the pulse of the Chacarera folk dance is found in the majority of the tenth movement, solo sections of instrumental lines indicate that the pulse maintains the 6/8 meter or the 3/4 meter before returning to the alternation of the two meters. Examples includes the quena
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solo at measures 33 through 40 (See figure 6.29) and the charango solo at measures 79 through
87 (See figure 6.30).
Figure 6.28. Ariel Ramírez, Misa Por La Paz y La Justicia, “Salmo 150,” mm. 25-30.
Figure 6.29. Ariel Ramírez, Misa Por La Paz y La Justicia, “Salmo 150,” mm. 31-36.
Figure 6.30. Ariel Ramírez, Misa Por La Paz y La Justicia, “Salmo 150,” mm. 78-84.
This movement also includes narration. The score suggests that the narrator begin the narration at measure 156. Beginning at this spot will work. However, for a continuous narration 118
without any pauses, it would be best for the narration to begin at measure 159. This will provide for an even flow of narration with the underscored choral music, ending right before the final cadence of V - i at measure 186.
Rehearsal Issues
The rehearsal issues found in this movement involve the hemiolas and the vocal percussion. Just as with previous hemiolas in other movements, the chorus should be aware when the hemiolas happen. For the vocal percussion sounds at measure 178 through 186, the music should continue the same textual style that was performed in previous movements.
The clapping section found at measures 141 through 148, may prove to be a two- rehearsal issue (See figure 6.31). The first issue involves the rhythmic meter that contrasts with the Chacarera folk dance. While the music indicates a clear alternation between 6/8 and 3/4 meter, the clapping is in a 6/8 meter. This is obviously going to cause hemiolas. By taking time in working with the chorus and instrumentalist, this will ensure a clean rhythmic meter. The second issue is ensuring that the rhythmic clap is maintained. The chorus will be tempted to clap the rhythmic meter performed by the piano line. By having the chorus stay firm on their rhythmic meter, they will be less likely to follow the meter in the piano line. Aside from those two issues, the score only indicates that the clapping is in the soprano line. This is not to say that the other voice lines should not clap. Depending on the venue, the size of the chorus, and the sound balance, the choral clapping can include more or fewer clappers as needed.
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Figure 6.31. Ariel Ramírez, Misa Por La Paz y La Justicia, “Salmo 150,” mm. 140-48.
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CHAPTER 7 CONCLUSION
Although Ariel Ramírez is known for his first choral Mass, Misa Criolla, his second
Mass, Misa Por La Paz y La Justicia, provides a richer score of folk tunes and folk dances. By immersing himself in the music of Northwest Argentina and learning of the intricacies of folk music from Atahualpa Yupanqui and Dr. Justiniano Torres Aparicio, his music became unique in the blending of liturgical Mass and folk music. The text in this Mass also shows Ramírez ability to incorporate biblical text with sacred word. By incorporating both the Ordinary Mass and the
Proper Mass, a combination only used in the Missa pro defunctis (Requiem Mass), Ramírez’s creative style allows the listener to experience different parts of the spoken Mass. Misa Por La
Paz y La Justicia also demonstrates Ramírez’s ability to incorporate modern instruments alongside aboriginal instruments. By combining the two types of instruments, the texture of the
Mass sets it apart from every other Mass.
Whether a specific movement or as a whole choral masterwork, each movement has its own unique style. While this Mass focuses mostly on the theme of peace, different movements can be extracted and performed individually for any type of concert. A program based on sorrow or grief might include the first movement, “Introducción,” as an opening of a concert, or a concert that explores the theme of instrument and dance can incorporate Ramírez’s final movement, “Salmo 150,” as a concert closer. This Mass is also easily adaptable into a liturgical worship service. By performing the movements that incorporate the Mass of the Ordinary, it would provide a different worship experience for the congregation.
Expounding upon peace and justice as the main message of Ramírez’s Misa Por La Paz y
La Justicia, Father Osvaldo Catena stated, “Without justice, peace is only an order, and every
Mass is always a prayer for these two human goods… In these days of worldwide tension and 121
confusion, in which violence is the common denominator in all the acts of men on the earth, the word of God gives us back a little hope, rescues us from unbelief and makes us think that all is not lost, that still millions of men and women who believe in peace, love will enter each city and each friendship.” This message still speaks today, as strongly as it did in Argentina in 1981.
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BIBLIOGRAPHY
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Arizaga, Rodolfo. Enciclopedia de la música Argentina. Buenos Aires: Fondo Nacional de las Artes, 1971.
Bach, Caleb. “Ariel Ramírez: High Fidelity for Folk.” Américas 55, no. 5 (September 2003): 42 - 7.
Benvenuto, Elenora Lisa. Danzas Folklóricas Agrentinas. Buenos Aires: Cesarini Hnos. Editores, 1962.
Botstein, Leon. “Music in Time of War.” Conjunctions, no. 16 The Music Issue (1991): 122 - 128.
Chá, Ercilia Moreno. “Argentina.” In The Garland Handbook of Latin American Music, edited by Dale Olsen, 385-409. New York: arland Publishing, 2008.
Brill, Mark. Music of Latin America and the Caribbean. Boston: Prentice Hall, 2011.
Escalada, Oscar. “Ariel Ramírez’s Misa Criolla.” Translated and edited by Aaron Mitchell. The Choral Journal 49, no. 2 (August 2008): 26-43.
Florine, Jane L. ““Cuarteto:” Dance-Hall Entertainment or People’s Music?.” Revista de Musica Latinoamerican 19, no. 1 (Spring-Summer, 1998): 31-46.
Gómez García, Zoila. Música Latinoamericana y Caribeña. La Habana: Editorial Pueblo y Educaciòn, 1995.
Hague, Eleanor. Latin American Music: Past and Present. Santa Ana, California: The Fine Arts Press, 1934.
Herford, Julius and Harold A. Decker. Choral Conducting: A Symposium. Englewood Cliffs: Prentice-Hall, 1973.
Jeffers, Ron. Translations and Annotations of Choral Repertoire – Volume1: Sacred Latin Texts. Corvallis: Earthsongs, 1988.
Knudsen, Jan Sverre. “‘With Your Coat On’: The Role of Traditional Chilean Dance in an Immigrant Community.” British Journal of Ethnomusicology 10, no. 2 (2001): 61 - 83.
LaVerdiere, Eugene. The Eucharist in the New Testament and the Early Church. Collegeville, MN: The Liturgical Press, 1996.
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Levine, Laurence W. and Kathleen Quinn. Inside Argentina from Perón to Menem:1950 – 2000 From an American Point of View. Ojai, California: Edwin House Publishing Inc., 2001.
Lewis, Paul. Guerrillas and Generals: The “Dirty War” in Argentina. Westport, Conn: Praeger, 2002.
Marchak, M. Patricia and William Marchak. God’s Assassins: State Terrorism in Argentina in the 1970s. Montreal: McGill-Queen’s University Press, 1999.
McKinnon, James W., "Panpipes." Grove Music Online. Oxford Music Online, http://www.oxfordmusiconline.com (accessed January 05, 2017).
Mitchell, Aaron. “A Conductor’s Guide to Ariel Ramírez’s Misa Criolla.” DMA diss., University of Cincinnati, 2009.
Primatic, Stephen. Percussion Methods: An Essential Resource for Educators, Conductors, and Students. Milwaukee: Hal Leonard, 2015.
Ramírez, Ariel. Misa Por La Paz y La Justicia. Buenos Aires: Warner Chappell Argentina S.A.I.C., 2001.
Rossi, Nick, “Music of Argentina.” Music Educators Journal 59, no. 5 (January 1975): 51-53
Schechter, John. “Güiro.” Oxford Music Online. Oxford University Press. http://www.oxfordmusiconline.com (accessed October 22, 2017).
Schnabel, Tom. Rhythm Planet: The Great World Music Makers. New York: Universe Publication, 1998.
Schwartz-Kates, Deborah. “Argentina and the Rioplatense Region.” in Musics of Latin America, edited by Robin Moore, 275 - 323. New York: W. W. Norton & Company, 2012.
Semblanzas Produciones. “Biografia.” Sitio Oficial de Ariel Ramírez. http://www.arielramirez.com/biog.htm (accessed December 12, 2016).
______. “Ediciones, presentaciones del disco y conciertos.” Sitio Oficial de Ariel Ramírez. http://www.arielramirez.com/obra3.htm# (accessed February 6, 2018).
______. “Obras: Misa Por La Paz y La Jusitcia” Sitio Oficial de Ariel Ramírez. http://www.arielramirez.com/obra3.htm (accessed December 12, 2016).
______. “Obras destacadas.” Sitio Oficial de Ariel Ramírez. http://www.arielramirez.com/obra.htm (accessed December 12, 2016).
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Sheehy, Daniel. “Popular Mexican Musical Traditions: The Mariachi of West Mexico and the Conjunto Jarocho of Veracruz,” in Music in Latin American Culture: Regional Traditions, edited by John M. Schechter, 34 - 79. New York: Schirmer Books, 1999.
Sublette, Ned. Cuba and its Music: From the First Drum to the Mambo. Chicago: Chicago Review Press, 2004.
Sulsbruck, Birger. Latin-American Percussion: Rhythms and Rhythm Instruments from Cuba and Brazil. Translated by Ethan Weisgard. Copenhagen: Den Rytmiske Aftenskoles Forlag, 1986.
Vega, Carlos. Danzas y Canciones Argentinas. Buenos Aires, G. Ricordi y cía: 1936.
Walsh, Mary Ann. John Paul II: A Light for the World, Essays and Reflections on the Papacy of John Paul II. Chicago: Sheed & Ward, 2003.
Whitebead, Baruch. “We shall Overcome: The Roles of Music in the US Civil Rights Movement.” In Music and Conflict Transformation: Harmonies and Dissonances in Geopolitics, edited by Oliver Urbain, 78 - 92. London: I. B. Tauris, 2008.
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DISCOGRAPHY
Ramírez, Ariel. Misa Criolla. Robert De Cormíer, dir. Albany Records CD TROY745, 2005.
______. Misa Por La Paz y La Justicia. Oscar Cardozo Ocampo, dir. Microfon Argentina S. A. LP 001, 1981.
______. Misa Por La Paz y La Justicia. Daniel Morcos, dir. Stichting Argentijnse Muziek SAM 001, 2010.
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APPENDIX 1 ABOUT THE CREATION OF MISA POR LA PAZ Y LA JUSTICIA100
ACERCA DE LA CREACIÓN DE MISA POR LA PAZ Y LA JUSTICIA (Texto firmado por Ariel Ramírez)
Al aceptar la sugerencia de los Editores acerca de suscribir el Comentario preliminar para esta edición, pensé que debía hacer conocer los acontecimientos que, muchos años atrás, dieron origen a la obra que se presentamos. De modo que, a la narración de mis propias experiencias antepuse, seleccionando entre mis recuerdos, una serie de fragmentos de entrevistas publicadas en distintos periódicos del país, en torno a la Misa Por La Paz y La Justicia.
"Componer Misa Por La Paz y La Justicia fue una predestinación. Ocurrió durante una ejecución de Misa Criolla en la capilla Mater Admirabilis, en la calle Arroyo al 900, en Buenos Aires, en el año 1979. Durante el oficio religioso el padre Rafael Braun pidió públicamente a Dios porque yo compusiera otra misa, pero implorando por la paz y la justicia en el mundo. A partir de ese momento asumí el compromiso y busqué el material adecuado con el auxilio del padre Osvaldo Catena y el apoyo del sacerdote José Bevilacqua. En ella traté de reflejar el mensaje de la Iglesia Católica de dos mil años de prédica por la vigencia de estos dos valores del Evangelio y de la humanidad."
"Cuando leo los diarios y veo lo que está ocurriendo en el mundo, como hombre me horrorizo. Es el mismo dolor que sentí en mi propio país por lo que hemos vivido. Creo que, como artista, uno debe contribuir a que no se repita, ni aquí ni en ninguna otra parte, y así surgió la idea de musicalizar este mensaje."
"Como artista argentino tengo el compromiso de dejar, junto a toda mi obra, un mensaje cristiano a favor de la paz. Y ojalá se interprete profundamente la intención de mi mensaje. No pido paz ni con gritos ni con odio, sino con amor... Quizás pueda ser un granito de arena a favor de la paz y la justicia en el mundo."
"Lo que me llevó a escribir esta nueva partitura han sido los hechos vividos en el país en los últimos años. Nunca antes habíamos pasado tantas desventuras."
"En la Misa Por La Paz y La Justicia deben considerarse dos aspectos importantes. Una, la faz artística y otra la moral, la que nos hace reflexionar con profundidad acerca del significado de las palabras paz y justicia: la paz como único medio de convivencia y a la justicia como vehículo de unión entre los pueblos de todo el mundo."
"Sin esa paz y sin esa justicia sería imposbile pintar, componer, escribir y disfrutar de todos los dones que Dios nos ha dado en la vida para compartirlo con nuestros hijos y nuestros amigos."
100 Reprinted from Semblanzas Produciones,“Obras: Misa Por La Paz y La Jusitcia,” Sitio Oficial de Ariel Ramírez, http://www.arielramirez.com/obra3.htm, (accessed December 1, 2016). 127
APPENDIX 2 MISA POR LA PAZ Y LA JUSTICIA: TEXT AND TRANSLATION
1. Introducción 1. Introduction “Un inmenso clamor se escucha por el “An immense clamor is heard throughout the mundo, un inmenso clamor de llantos y world, an immense clamor of cries and lamentos; son los padres y madres que lloran lamentation; it is the fathers and mothers who a sus hijos y no encuentran consuelo, porque cry for their children and find no consolation ya están muertos.” because they are already dead.”
Señor, ten piedad de nosotros - Kyrie Lord, have mercy upon us - Kyrie Señor Dios, ten piedad de nosotros. Lord God, have mercy upon us. Señor, ten piedad de nosotros. Lord, have mercy upon us. Señor, que te hiciste hombre para reunir Lord, who became man to gather together a los hijos de Dios, dispersos por el pecado. the children of God, scattered by sin Señor, ten piedad de nosotros. Lord, have mercy upon us.
Cristo, ten piedad de nosotros. Christ, have mercy upon us. Cristo, que derramaste tu Sangre Christ, who shed your Blood para el perdón y la paz for forgiveness and peace Cristo, ten piedad de nosotros. Christ, have mercy upon us.
Señor, ten piedad de nosotros. Lord, have mercy upon us. Señor, que enviaste el Espíritu Santo Lord, who sent the Holy Spirit para hermanar a todos los pueblos. to unite all peoples. Señor, ten piedad de nosotros. Lord, have mercy upon us.
2. Gloria a Dios - Gloria 2. Glory to God - Gloria Gloria a Dios en el cielo Glory to God in the highest y en la tierra paz a los hombres and on earth peace to men que ama el Señor. who love the Lord.
Te alabamos, te bendecimos, We praise you, we bless you te adoramos, te glorificamos, we worship you, we glorify you te damos gracias por tu inmensa Gloria. we give thanks to you for your great glory.
Señor Dios. Rey Celestial. Lord God, Heavenly King Dios Padre todopoderoso. God the Father almighty Señor, Hijo único Jesucristo Lord, only Son Jesus Christ Señor Dios Cordero de Dios, Hijo del Padre Lord God Lamb of God, Son of the Father
Tú que quitas el pecado del mundo, You who take away the sin of the world ten piedad de nosotros. have mercy on us. Tú que quitas el pecado del mundo, You who take away the sin of the world
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2. Gloria a Dios - Gloria (cont’d.) 2. Glory to God - Gloria (cont’d.) atiende nuestra súplica hear our plea Tú que estás sentado a la derecha del You who are seated at the right hand of the Padre Father ten piedad de nosotros have mercy on us
Gloria a Dios en el cielo Glory to God in the highest y en la tierra paz a los hombres and on earth peace to men que ama el Señor. who love the Lord.
Porque solo Tú eres Santo For only You are Saintly Señor solo Tú eres Señor Lord only You are Lord Solo Tú. Altisimo Jesucristo Only you. Jesus Christ most high
Solo Tú. Con el Espiritu Santo Only you. With the Holy Spirit Solo Tú. en la Gloria de Dios Padre Only you. In the Glory of Father God Solo Tú. Altisimo Jesucristo Only you. Jesus Christ most high
Amén Amen
3 Salmo Responsorial 3. Responsorial Psalm Que el cielo envíe su rocío, May Heaven send its dew, que las nubes lluevan al Justo. may the clouds rain upon the Just.
Que se abra la tierra y brote el Salvador. May the Earth open and the Savior emerge
El Señor nos anuncia su paz, The Lord announces to us his peace, la paz para su pueblo y sus amigos; peace for his people and his friends; Su salvación ya está cerca de nosotros. His salvation is already near us.
De su Gloria, Of his glory, nuestra tierra se llenará de su Gloria. our earth will be filled with his glory.
El defenderá a los humildes, He will defend the meek, socorrerá la familia de los pobres, He will help the family of the poor, condenará a sus opresores, He will condemn their oppressors, hará reinar la paz y la justicia. He will make peace and justice reign . 4. Aleluia 4. Hallelujah! ¡Aleluia, Aleluia! Hallelujah, Hallelujah!
Felices los que trabajan por la paz, Fortunate are the peacemakers, porque serán llamados hijos de Dios! Because they shall be called sons of God!
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5. Homilía 5. Homily Ven, reino de Dios, derrame paz en la Come, kingdom of God, shower peace upon creación. creation.
“A todos vosotros que deseáis la paz, la gran “To all of you who desire peace, the great causa de la paz entre los pueblos tiene cause of peace among the nations has need of necesidad de todas las energías de paz all the energies of peace waiting in the heart latentes en el corazón del hombre.” of man.”
Ven, reino de Dios, derrame paz en la Come, kingdom of God, Shower peace upon creación. creation.
“Queridos hermanos y hermanas en Cristo: “Dear brothers and sisters in Christ, the la aspiración por la paz que vosotros aspiration for peace that you share with all compartís con todos los hombres, men and women corresponds to an initial call corresponde a una llamada inicial de Dios a by God to form a single family of brothers formar una sola familia de hermanos creados and sisters, created in the image of the same a imagen del mismo Padre.” father.”
“Hallamos en Cristo una esperanza. Los “In Christ, we find hope. Failures cannot fracasos no lograrán hacer vana la obra de la render vain the work of peace, even when the paz aún cuando los resultados inmediatos immediate results may be fragile, even when sean frágiles, aún cuando nosotros seamos we may be persecuted for our testimony in perseguidos por nuestro testimonio en favor favor of peace. Christ the Savior links his de la paz. Cristo salvador asocia su destino a destiny to all those who may work with love todos aquellos que trabajen con amor por la for peace.” paz.”
Dios de la esperanza, danos tu paz. Ven, God of hope, grant us your peace. Come, Dios Creador, a dar tu paz a la creación God Creator, to give your peace to creation.
“La paz es obra nuestra, exige nuestra acción “Peace is our work, it calls for our resolute decidida y solidaria. Pero es and united action. But it is inseparably and inseparablemente y por encima de todo, un above all a gift of God. It requires our don de Dios. Exige nuestra oración.” prayer.”
Ven, Dios Salvador, a prodigar tu liberación. Come, Savior God, to bestow your liberation.
“Los discípulos más fieles de Cristo han sido “The most faithful disciples of Christ have artífices de paz, llegando hasta a perdonar a been authors of peace, to the point of sus enemigos, hasta ofrecer, muchas veces, su forgiving their enemies, to even offer, many propia vida por ellos. A todos, cristianos, times, their own lives for them. To everyone, creyentes y hombres de buena voluntad, os Christians, believers, and men of good will. I digo: No tengáis miedo de apostar por la paz, say: Do not be afraid to take a chance on de educar para la paz. La aspiración de la paz peace, to teach peace. The aspiration for no quedará nunca decepcionada. peace will never be disappointed. 130
5. Homilía (cont’d.) 5. Homily (cont’d.) El trabajo por la paz, inspirada por la caridad Working for peace, inspired by the charity que no pasa, dará sus frutos. La paz será la that does not pass away, will bear fruit. Peace última palabra de la Historia.” will be the last word of History.”
Ven, nuestra esperanza, danos tu amor, danos Come, our hope, give us your love, tu paz, danos, Señor, tu paz. give us your peace, give us, Lord, your peace.
6. Creo en Dios – Credo 6. I believe in God - Credo Padre Todopoderoso, Father Almighty, Creador del cielo y la tierra; Creator of the heaven and Ear
Creo en Dios, y en Jesucristo creo, I believe in God and I believe in Jesus Christ su Único Hijo, Nuestro Señor, His Only Son, Our Lord, que fue concebido por obra y gracia who was conceived by the work and grace del Espíritu Santo. of the Holy Spirit. Nació de Santa María Virgen Born of the Virgin Saint Mary nació su Hijo Nuestro Señor born her Son Our Lord Padeció bajo el poder de Poncio Pilatos, He suffered under the power of Pontius Pilate Fue crucificado, muerto y sepultado. was crucified, dead, and buried. Descendió a los infiernos. He descended into Hell. Al tercer día, Resucitó de entre los muertos; On the third day, He rose from the dead; Subió a los cielos, ascended into heaven, Está sentado a la diestra de Dios, and is seated on the right hand of God, Padre Todopoderoso, desde allí Father Almighty, from there ha de venir a juzgar vivos y muertos. He will come to judge the living and the dead.
Creo en el Espíritu Santo, I believe in the Holy Spirit, Santa Iglesia Católica, the Holy Catholic church La Comunión de los Santos the Communion of the Saints, y el perdón de los pecados, and the forgiveness of sins, la resurrección de la carne the resurrection of the flesh y la vida perdurable. Amén. and the life everlasting. Amen.
7. Santo es el Señor – Sanctus 7. Holy is the Lord – Sanctus Santo, Santo, Santo, Holy, Holy, Holy, es el Señor Dios del Universo, is the Lord God of the Universe, Lleno está el cielo y la tierra de Tu Gloria. Heaven and Earth are full of Your Glory.
Hosanna en el Cielo, bendito el que viene en Hosanna in Heaven, blessed is he who comes el nombre del Señor. in the name of the Lord.
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8. Cordero de Dios – Agnus Dei 8. Lamb of God - Agnus Dei Cordero de Dios que quitas el pecado del Lamb of God who takes away the sin of the mundo, Ten piedad de nosotros. world, Have mercy on us. Cordero de Dios que quitas el pecado del Lamb of God who takes away the sin of the mundo, Dános la paz. world, give us peace.
9. Comunión 9. Communion Vengan a mi altar, Come to my altar, que es mesa de amistad, that is the table of friendship, fiesta celestial, banquete fraternal. heavenly feast, fraternal banquet Vengan a ocupar la silla come to fill the chair que mi Padre destinó, that my father intended, a congregar sus hijos to congregate his children junto a Mí en nueva humanidad. together with me in new humanity.
¡Voy Señor, voy a Ti, I come Lord, I come to you, en plena comunión de fe y amor! in complete communion of faith and love!
Vengan a comer el Pan de la unidad, Come to eat the Bread of unity, vengan a beber la copa de la Paz. come to drink the cup of Peace. Vengan a buscar la fuerza del amor y el Come to look for the strength of love and perdón. forgiveness Que solo con mi gracia alcanzarán vivir en Because only with My grace, may you live in hermandad. brotherhood.
¡Voy Señor, voy a Ti, I come Lord, I come to you, con hambre de justicia y sed de amor! with hunger for justice and thirst for love!
¡Señor! Que nuestra comunión en Ti Lord! May our communion in you nos haga compartir tu gesto salvador. make us share your redemptive gesture.
¡Tomanos Señor! Take us Lord! Humildes te ofrecemos nuestro cuerpo, We humbly offer you our body, nuestra sangre, our blood, para ser señal de tu liberación, to be a sign of your liberation, obreros de tu paz, workers of your peace, testigos de tu amor. witnesses of your love
Vengan a ofrecer la Sangre del perdón, Come to offer the Blood of forgiveness, vengan a inmolar la víctima pascual. Come to immolate the paschal victim. Es mi memoria, It is my memory, la alianza que en mi muerte se selló the alliance that in my death was sealed y a los distintos pueblos and the distinct nations congregó en fraternal unión. congregated in brotherly unity. 132
9. Comunión (cont’d.) 9. Communion (cont’d.) ¡Voy Señor, voy a Ti, I come Lord, I come to you, a ser tu anunciador de paz y amor! to be your announcer of peace and love!
Vengan a formar la nueva humanidad, Come to form a new humanity, vengan a integrar mi reino celestial: come to form my heavenly kingdom: Reino de amor, de gracia, Kingdom of Love, of grace, de justicia y de verdad, of justice and of truth, pués solo en Dios because only in God está la salvación y el triunfo de la paz. is the salvation and the triumph of peace.
¡Voy Señor, voy a Ti, I come Lord, I come to you, dispuesto a reflejar tu luz de amor! willing to reflect your light of love!
Para ser señal de tu liberación, To be the sign of your libration, obreros de tu paz, testigos de tu amor. workers of your peace, witnesses of your To be a sign of your liberation, love.
10. Salmo 150 10. Psalm 150 ¡Aleluia Chacarera, Hallelujah Chacarera, Chacarera de Argentina, Chacarera of Argentina, Chacarera americana, Aleluia universal! American Chacarera, universal hallelujah!
Alabemos al Señor Praise the Lord con los sikuris y con las quenas. with sikuris and quenas.
Alabemos al Señor, ¡Aleluia! Praise the Lord, Hallelujah! los sikus y las quenas. sikus and quenas.
Alabemos al Señor Praise the Lord con los charangos y con los bombos. with charangos and with drums.
Alabemos al Señor Praise the Lord con las guitarras y con la danza. ¡Aleluia! with guitars and with dance. Hallelujah!
“Vi un cielo nuevo y una tierra nueva; vi la “I saw a new heaven and new Earth; I saw nueva Ciudad Santa que descendía del cielo the new Holy City that was descending from y venía de Dios. Oí una voz potente que heaven and coming from God. I heard a decía desde el trono: “Esta es la morada de mighty voice that announced from the Dios entre los hombres. El habitará con ellos throne, “This is abode of God among men. y ellos serán su Pueblo. El secará todas sus He will live among them and they will be lágrimas y ya no habrá más muerte, ni pena, his People. He dry all their tears and there ni llanto, ni dolor, porque todo lo de antes will be no longer be more death, nor sorrow, pasó”. nor crying, nor pain, because everything from before has passed away.” Alabemos al Señor ¡Aleluia!, ¡Aleluia! Praise the Lord! Hallelujah!, Halleluijah! 133
APPENDIX 3 MISA POR LA PAZ Y LA JUSTICIA INTERNATIONAL PHONETIC ALPHABET (IPA)
1. Introducción Un inmenso clamor se escucha por el mundo, [un im.mɛn.so101 kla.mor sɛ ɛs.ku.ʧa por ɛl mun.do] un inmenso clamor de llantos y lamentos; [un im.mɛn.so kla.mor ðɛ ʎan.tos i la.mɛn.tos] son los padres y madres [son los pa.ðrɛs i ma.ðrɛs] que lloran a sus hijos [kɛ ʎo.ran a sus i.xos] y no encuentran consuelo, [i no ɛŋ.kwɛn.tran kon.swɛlo] porque ya están muertos. [por.kɛ ja ɛs.tan mwɛr.tos]
Señor, ten piedad de nosotros - Kyrie Señor Dios, ten piedad de nosotros. [sɛ.ɲor ðjos, tɛm pjɛ.ðað ðɛ no.so.tros]
Señor, que te hiciste hombre para reunir [sɛ.ɲor kɛ tɛ‿i.θi.stɛ om.brɛ pa.ra rɛu.nir] a los hijos de Dios, dispersos por el pecado. [a los i.xoz ðɛ ðjos dis.pɛr.sos por ɛl pɛ.ka.ðo]
Cristo, ten piedad de nosotros. [kri.sto tɛm pjɛ.ðað ðɛ no.so.tros]
Cristo, que derramaste tu Sangre [kri.sto kɛ ðɛ.ra.ma.stɛ tu saŋ.grɛ] para el perdón y la paz [pa.ra‿ɛl pɛr.ðon i la paθ]
101 The Spanish pronunciation for “e” and “o” are spoken with open vowels sounds. 134
2. Señor, ten piedad de nosotros - Kyrie (cont’d.) Señor, que enviaste al Espíritu Santo [sɛ.ɲor kɛ‿ɛm.bja.stɛ al ɛs.pi.ri.tu san.to] para hermanar a todos los pueblos. [pa.ra‿ɛr.ma.nar a to.ðoz los pwɛ.βlos]
3. Gloria a Dios - Gloria Gloria a Dios en el cielo [glo.rja‿a ðjos ɛn ɛl θjɛ.lo] y en la tierra paz a los hombres que ama el Señor. [j‿ɛn la tjɛ.ra pas a los om.brɛs kɛ‿a.ma‿ɛl sɛ.ɲor]
Te alabamos, te bendecimos, [tɛ‿a.la.ßa.mos tɛ ßɛn.dɛ.si.mos]
Te adoramos, te glorificamos,
[tɛ‿a.ðo.ra.mos tɛ glo.ri.fi.ka.mos]
Te damos gracias por Tu inmensa Gloria. [tɛ ða.moz gra.sjas por tu‿im.mɛn.sa glo.rja]
Señor Dios, Rey Celestial. [sɛ.ɲor ðjos rɛj sɛ.lɛs.tjal]
Dios, Padre Todopoderoso. [djos pa.ðrɛ to.ðo.po.ðɛ.ro.so]
Señor, Hijo Único, Jesucristo. [sɛ.ɲor i.xo u.ni.ko xɛ.su.kris.to]
Señor Dios Cordero de Dios, Hijo del Padre. [sɛ.ɲor ðjos kor.ðɛ.ro ðɛ ðjos i.xo ðɛl pa.ðrɛ]
Tú que quitas los pecado del mundo, [tu kɛ ki.taz los pɛ.ka.ðo ðɛl mun.do] ten piedad de nosotros. [tɛn pjɛ.ðað ðɛ no.so.tros]
Tú que quitas los pecados del mundo, [tu kɛ ki.taz los pɛ.ka.ðoz ðɛl mun.do] atiende nuestra súplica. [a.tjɛn.dɛ nwɛs.tra su.pli.ka] 135
3. Gloria a Dios - Gloria (cont’d.) Tú que estás sentado a la derecha del padre [tu kɛ‿ɛs.tas sɛn.ta.do a la ðɛ.rɛ.ʧa ðɛl pa.ðrɛ] ten piedad de nosotros. [tɛn pjɛ.ðað ðɛ no.so.tros]
Gloria a Dios en el cielo [glo.rja‿a ðjos ɛn ɛl θjɛ.lo] y en la tierra paz a los hombres que ama el Señor. [j‿ɛn la tjɛ.ra pas a los om.brɛs kɛ‿a.ma‿ɛl sɛ.ɲor]
Porque sólo Tú eres Santo, [por.kɛ so.lo tu ɛ.rɛs san.to]
Señor sólo Tú Señor. Sólo Tú. [sɛ.ɲor so.lo tu sɛ.ɲor so.lo tu]
Altísimo Jesucristo. Sólo Tú. [al.ti.si.mo xɛ.su.kris.to so.lo tu] con el Espíritu Santo Sólo Tú. [kon ɛl ɛs.pi.ri.tu san.to so.lo tu] en la Gloria de Dios Padre Sólo Tú. [ɛn la glo.rja ðɛ ðjos pa.ðrɛ so.lo tu]
Altísimo Jesucristo. Amén. [al.ti.si.mo xɛ.su.kris.to a.mɛn]
4. Salmo Responsorial Que el cielo envíe su rocío, [kɛ ɛl θjɛ.lo ɛm.biɛ su ro.θio] que las nubes lluevan al Justo. [kɛ laz nu.βɛs ʎwɛ.βan al xus.to]
Que se abra la tierra y brote el Salvador. [kɛ sɛ ˈa.βra la tjɛ.ra i βro.tɛ‿ɛl sal.βa.ðor]
El Señor nos anuncia su paz, [ɛl sɛ.ɲor nos a.nun.θja su paθ] la paz para su pueblo y sus amigos; [la paθ pa.ra su pwɛ.βlo i sus a.mi.ɣos] 136
4. Salmo Responsorial (cont’d.) Su salvación ya está cerca, cerca de nosotros. [su sal.βa.ˈθjon ʝa‿ɛs.ˈta θɛr.ka, θɛr.ka ðɛ no.so.tros]
De su Gloria, [dɛ su glo.rja] nuestra tierra se llenará de su Gloria. [nwɛ.stra tjɛ.ra sɛ ʎɛ.na.ra ðɛ su glo.rja]
El defenderá a los humildes, [ɛl dɛ.fɛn.dɛ.ra a los u.mil.dɛs] socorrerá la familia de los pobres, [so.ko.rɛ.ra la fa.mi.lja ðɛ los po.βrɛs] condenará a sus opresores, [kon.dɛ.na.ra a sus o.prɛ.so.rɛs] hará reinar la paz y la justicia. [a.ra rɛi.nar la paθ i la xu.sti.θja]
5. Aleluia ¡Aleluia, Aleluia! [a.lɛ.lu.ja a.lɛ.lu.ja]
Felices los que trabajan por la paz, [fɛ.li.θɛz los kɛ tra.βa.xam por la paθ] porque serán llamados hijos de Dios! [por.kɛ sɛ.ran ʎa.ma.ðos i.xoz ðɛ ðjos]
6. Homilía El reino de Dios, derrame paz en la creación. [lɛ rɛi.no ðɛ ðjos dɛ.ra.mɛ paθ ɛn la krɛ.a.θjon]
A todos vosotros que deseáis la paz, [a to.ðoz βo.so.tros kɛ ðɛ.sɛ.aiz la paθ] la gran causa de la paz entre los pueblos [la gran kau.sa ðɛ la paθ ɛn.trɛ los pwɛ.βlos] tiene necesidad de todas las energías de paz [tjɛ.nɛ nɛ.θɛ.si.ðað ðɛ to.ðaz las ɛ.nɛr.xi.az ðɛ paθ]
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6. Homilía (cont’d.) latentes en el corazón del hombre. [la.tɛn.tɛs ɛn ɛl ko.ra.θon dɛl om.brɛ]
Ven, reino de Dios, derrame paz en la creación. [bɛn rɛi.no ðɛ ðjos dɛ.ra.mɛ paθ ɛn la krɛ.a.θjon]
Queridos hermanos y hermanas en Cristo: [kɛ.ri.ðos ɛr.ma.nos i ɛr.ma.nas ɛn kri.sto] la aspiración por la paz que vosotros compartís [la a.spi.ra.θjom por la paθ kɛ βo.so.tros kom.par.tis] con todos los hombres, [kon to.ðoz los om.brɛs] corresponde a una llamada inicial de Dios [ko.rɛs.pon.dɛ a u.na ʎa.ma.ða i.ni.θjal dɛ ðjos] a formar una sola familia de hermanos [a for.mar u.na so.la fa.mi.lja ðɛ ɛr.ma.nos] creados a imagen del mismo Padre. [krɛ.a.ðos a i.ma.xɛn dɛl miz.mo pa.ðrɛ]
Hallamos en Cristo una esperanza. [a.ʎa.mos ɛn kri.sto u.na ɛs.pɛ.ran.θa]
Los fracasos no lograrán hacer vana [los fra.ka.soz no lo.gra.ran a.θɛr βa.na] la obra de la paz aún cuando los resultados [la o.βra ðɛ la paθ a.un kwan.do los rɛ.sul.ta.ðos] inmediatos sean frágiles, [immɛ.ðja.tos sɛ.am fra.xi.lɛs] aún cuando nosotros seamos perseguidos [a.un kwan.do no.so.tros sɛ.a.mos pɛr.sɛ.gi.ðos] por nuestro testimonio en favor de la paz. [por nwɛ.stro tɛ.sti.mon.jo ɛm fa.βor ðɛ la paθ]
Cristo salvador asocia su destino a todos [kris.to sal.βa.ðor a.so.θja su ðɛs.ti.no a to.ðos]
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6. Homilía (cont’d.) aquellos que trabajen con amor por la paz. [a.kɛ.ʎos kɛ tra.βa.xɛn kon a.mor por la paθ]
Dios de la esperanza, danos tu paz. [djoz ðɛ la‿ɛs.pe.ran.θa da.nos tu paθ]
Ven, Dios Creador, a dar tu paz a la creación [bɛn djos krɛ.a.ðor a ðar tu paθ a la krɛ.a.θjon]
La paz es obra nuestra, [la paθ ɛs o.βra nwɛs.tra] exige nuestra acción decidida y solidaria. [ɛk.si.xɛ nwɛs.tra ak.θjon dɛ.θi.ði.ða i so.li.ða.rja]
Pero es inseparablemente y por encima de todo, [pɛ.ro ɛs in.sɛ.pa.ra.βlɛ.mɛn.tɛ i por ɛn.θi.ma ðɛ to.ðo] un don de Dios. [un don dɛ ðjos]
Exige nuestra oración. [ɛk.si.xɛ nwɛs.tra o.ra.θjon]
Ven, Dios Salvador, a prodigar tu liberación. [bɛn djos sal.βa.ðor a pro.ði.ɣar tu li.βɛ.ra.θjon]
Los discipulos más fieles de Cristo [loz ðis.θi.pu.loz mas ˈfjɛ.lɛz ðɛ ˈkris.to] han sido artífices de paz, [an si.ðo ar.ti.fi.θɛz ðɛ paθ] llegando hasta a perdonar a sus enemigos, [ʎɛ.ɣan.do as.ta a pɛr.ðo.nar a sus ɛ.nɛ.mi.ɣos] hasta ofrecer, muchas veces, [as.ta o.frɛ.θɛr mu.ʧaz βɛ.θɛs] su propia vida por ellos. [su pro.pja βi.ða por ɛ.ʎos]
A todos, cristianos, creyentes y hombres [a to.ðos kris.tja.nos krɛ.ʝɛn.tɛs i om.brɛs]
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6. Homilía (cont’d.) de buena voluntad, os digo: [dɛ βwɛ.na βo.lun.tað oz ði.ɣo]
No tengaís miedo de apostar por la paz, [no tɛŋ.ga.iz ˈmjɛ.ðo ðɛ a.pos.tar por la paθ] de educar para la paz. [dɛ ɛ.ðu.kar pa.ra la paθ]
La aspiración de la paz no quedará nunca decepcionada. [la as.pi.ra.θjon dɛ la paθ no kɛ.ða.ra nuŋ.ka ðɛ.θɛp.θjo.na.ða]
El trabajo por la paz, [ɛl tra.βa.xo por la paθ] inspirada por la caridad que no pasa, [in.spi.ra.ða por la ka.ri.ðað kɛ no pa.sa] dará sus frutos. [da.ra sus ˈfru.tos]
La paz será la última palabra de la Histora. [la paθ sɛ.ra la ul.ti.ma pa.la.βra ðɛ la is.to.ra]
Ven, nuestra esperanza, [bɛn nwɛs.tra‿ɛs.pɛ.ran.θa] danos tu amor, [da.nos tu‿a.mor] danos tu paz danos, [da.nos tu paθ ða.nos]
Señor, tu paz. [sɛ.ɲor tu paθ]
7. Creo en Dios – Credo Padre cielo Todopoderoso, [pa.ðrɛ sjɛ.lo to.ðo.po.ðɛ.ro.so]
Creador de cielo y tierra; [krɛ.a.ðor ðɛ sjɛ.lo‿i tjɛ.ra]
Creo en Dios, y en Jesucristo creo, [krɛ.o‿ɛn djos i‿ɛn xɛ.su.kris.to krɛ.o] 140
7. Creo en Dios - Credo (cont’d.) Su Único Hijo, Nuestro Señor, [su‿u.ni.ko i.xo nwɛs.tro sɛ.ɲor]
Que fué concebido por obra y gracia [kɛ fwɛ kon.sɛ.ßi.ðo por o.ßra‿i gra.sja] del Espíritu Santo. [ðɛl ɛs.pi.ri.tu san.to]
Nació de Santa María Vírgen su Hijo, Nuestro Señor, [na.sjo ðɛ san.ta ma.ri.a ßir.xɛn su i.xo nwɛs.tro sɛ.ɲor] ]
Padeció bajo el poder de Poncio Pilato, [pa.ðɛ.sjo ßa.xo‿ɛl po.ðɛr ðɛ pon.sjo pi.la.to]
Fué crucificado, muerto y sepultado. [fwɛ kru.si.fi.ca.ðo mwɛr.to‿i sɛ.pul.ta.ðo]
Descendió a los infiernos; [dɛ.sɛn.djo‿a los in.fjɛr.nos]
Al tercer día, Resucitó de entre los muertos; [al tɛr.sɛr ði.a rɛ.su.si.to ðɛ‿ɛn.trɛ los mwɛr.tos]
Subió a los cielos, [su.ßjo‿a los sjɛ.los]
Está sentado a la diestra de Dios, [ɛs.ta sɛn.ta.ðo‿a la ðjɛs.tra ðɛ ðjos]
Padre Todopoderoso, desde allí [pa.ðrɛ to.ðo.po.ðɛ.ro.so dɛz.ðɛ a.ʒi] ha de venir a juzgar vivos y muertos. [a ðɛ ßɛ.nir a xuz.gar ßi.ßos i mwɛr.tos]
Creo en el Espíritu Santo, [krɛ.o‿ɛn ɛl ɛs.pi.ri.tu san.to] la Santa Iglesia Católica, [la san.ta‿i.glɛ.sja ka.to.li.ka]
La Comunión de los Santos [la ko.mu.njon dɛ los san.tos]
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7. Creo en Dios - Credo (cont’d.) y el perdón de los pecados, [j‿ɛl pɛr.ðon dɛ los pɛ.ka.ðos] la Resurreción de la carne [la rɛ.su.rɛ.sjon dɛ la kar.nɛ] y la vida perdurable. [i la ßi.ða pɛr.ðu.ra.ßlɛ]
Amén. [a.mɛn]
8. Santo es el Señor - Sanctus Santo, Santo, Santo, [san.to san.to san.to]
Santo es el Señor [san.to ɛs ɛl sɛ.ɲor]
Dios del Universo es el Señor [ðjoz ðɛl u.ni.ßɛr.so ɛs ɛl sɛ.ɲor]
Llenos está el cielo y la tierra de Tu Gloria llenos están. [ʒɛ.nos ɛs.ta ɛl sjɛ.lo‿i la tjɛ.ra ðɛ tu glo.rja ʒɛ.nos ɛs.tan]
Osana en el cielo [o.sa.na‿ɛn ɛl sjɛ.lo]
Bendito el que viene en el nombre del Señor. [bɛn.di.to‿ɛl kɛ ßjɛ.nɛ‿ɛn ɛl nom.brɛ ðɛl sɛ.ɲor]
9. Cordero de Dios – Agnus Dei Cordero de Dios que quitas el pecado del mundo, [kor.ðɛ.ro ðɛ ðjos kɛ ki.taz ɛl pɛ.ka.ðo ðɛl mun.do]
Ten piedad de nosotros. [tɛn pjɛ.ðað dɛ no.so.tros]
Cordero de Dios que quitas el pecado del mundo, [kor.ðɛ.ro ðɛ ðjos kɛ ki.taz ɛl pɛ.ka.ðo ðɛl mun.do]
Dános la paz. [da.nos la pas]
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10. Comunión Vengan a mi altar, que es mesa de amistad, [bɛŋ.gan a mi al.tar kɛ ɛz mɛ.sa ðɛ a.mis.tað] fiesta celestial, banquete fraternal. [fjɛs.ta θɛ.lɛs.tjal baŋ.kɛ.tɛ fra.tɛr.nal]
Vengan a ocupar la silla que mi Padre destinó, [bɛŋ.gan a o.ku.par la si.ʎa kɛ mi pa.ðrɛ ðɛs.ti.no] a congregar sus hijos junto a Mí en nueva humanidad. [a koŋ.grɛ.ɣar sus i.xos xun.to a mi ɛn nwɛ.βa u.ma.ni.ðað.]
¡Voy Señor, voy a Ti, en plena comunión de fe y amor! [boi sɛ.ɲor boi a ti ɛm plɛ.na ko.mu.njon dɛ fɛ i a.mor]
Vengan a comer el Pan de la unidad, [bɛŋ.gan a ko.mɛr ɛl pan dɛ la u.ni.ðað] vengan a beber la copa de la Paz. [bɛŋ.gan a βɛ.βɛr la ko.pa ðɛ la paθ]
Vengan a buscar la fuerza del amor y el perdón. [bɛŋ.gan a βus.kar la fwɛr.θa ðɛl a.mor i ɛl pɛr.ðon]
Que solo con mi gracia alcanzarán vivir en hermandad. [kɛ so.lo kom mi gra.θja al.kan.θa.ram bi,βir ɛn ɛr.man.dað]
¡Voy Señor, voy a Ti, con hambre de justicia y sed de amor! [boi sɛ.ɲor boi a ti kon am.brɛ ðɛ xus.ti.θja i sɛð ðɛ a.mor]
¡Señor! Que nuestra comunión en Ti [sɛ.ɲor kɛ nwɛs.tra ko.mu.njon ɛn ti] nos haga compartir tu gesto salvador. [nos a.ɣa kom.par.tir tu xɛ.sto sal.βa.ðor]
¡Tomanos Señor! [to.ma.nos sɛ.ɲor]
Humildes te ofrecemos nuestro cuerpo, nuestra sangre, [u.mil.dɛs tɛ o.frɛ.θɛ.moz nwɛs.tro kwɛr.po nwɛs.tra saŋ.grɛ] para ser señal de tu liberación, [pa.ra sɛr sɛ.ɲal dɛ tu li.βɛ.ra.θjon]
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10. Comunión (cont’d.) obreros de tu paz, testigos de tu amor. [oβ.rɛ.roz ðɛ tu paθ tɛs.ti.ɣoz ðɛ tu a.mor]
Vengan a ofrecer la Sangre del perdón, [ˈbɛŋ.gan a o.frɛ.θɛr la saŋ.grɛ ðɛl pɛr.ðon] vengan a inmolar la victima pascual. [bɛŋ.gan a im.mo.lar la βik.ti.ma pas.kwal]
Es mi memoria, [ɛz mi mɛ.mo.rja] la alianza que en mi muerte se selló [la a.ljan.θa kɛ ɛm mi mwɛr.tɛ sɛ sɛ.ʎo] y a los distintos pueblos congregó en fraternal unión. [j a loz ðis.tin.tos pwɛ.βlos koŋ.grɛ.ɣo ɛm fra.tɛr.nal u.njon]
¡Voy Señor, voy a Ti, a ser tu anunciador de paz y amor! [boi sɛ.ɲor boi a ti a sɛr tu a.nun.θja.ðor ðɛ paθ i a.mor]
Vengan a formar la nueva humanidad, [bɛŋ.gan a for.mar la nwɛ.βa u.ma.ni.ðað] vengan a integrar mi reino celestial: [ˈbɛŋ.gan a in.tɛ.grar mi ˈrɛi.no θɛ.lɛs.tjal]
Reino de amor, de gracia, de justicia y de verdad, [rɛi.no ðɛ a.mor dɛ gra.θja dɛ xus.ti.θja i ðɛ βɛr.ðað] pués solo en Dios está la salvación y el triunfo de la paz. [pwɛs so.lo ɛn djos ɛs.ta la sal.βa.θjon i ɛl trjum.fo ðɛ la paθ]
¡Voy Señor, voy a Ti, dispuesto a reflejar tu luz de amor! [boi sɛ.ɲor boi a ti dis.pwɛs.to a rɛ.flɛ.xar tu luθ ðɛ a.mor]
Para ser señal de tu liberación, [pa.ra sɛr sɛ.ɲal dɛ tu li.βɛ.ra.θjon] obreros de tu paz, testigos de tu amor. [oβ.rɛ.roz ðɛ tu paθ tɛs.ti.ɣoz ðɛ tu a.mor]
11. Salmo 150 ¡Aleluia Chacarera, Chacarera de Argentina, [a.ˈlɛ.lw.ja ʧa.ka.rɛ.ra ʧa.ka.rɛ.ra ðɛ ar.xɛn.ti.na] 144
11. Salmo 150 (cont’d.) Chacarera americana, Aleluia universal! [ʧa.ka.rɛ.ra a.mɛ.ri.ka.na a.lɛ.lu.ja u.ni.βɛr.sal]
Alabemos al Señor con los sikuris y con las quenas. [a.la.βɛ.mos al sɛ.ɲor kon los si.ku.ris i kon las kɛ.nas]
Alabemos al Señor, ¡Aleluia!, ¡Aleluia!, los sikus y las quenas. [a.la.βɛ.mos al sɛ.ɲor a.lɛ.lu.ja a.lɛ.lu.ja los si.kus i las kɛ.nas]
Alabemos al Señor con los charangos y con los bombos. [a.la.βɛ.mos al sɛ.ɲor kon los ʧa.raŋ.gos i kon loz βom.bos]
¡Aleluia!, ¡Aleluia! charangos y los bombos. [a.lɛ.lu.ja a.lɛ.lu.ja ʧa.raŋ.gos i loz βom.bos]
Alabemos al Señor con las guitarras y con la danza. [a.la.βɛ.mos al sɛ.ɲor kon laz gi.ta.ras i kon la ðan.θa]
¡Aleluia!, ¡Aleluia! guitarras y la danza. [a.lɛ.lu.ja a.lɛ.lu.ja gi.ta.ras i kon la ðan.θa]
Vi un cielo nuevo y una tierra nueva; [bi un θjɛ.lo nwɛ.βo i ˈuna tjɛ.ra nwɛ.βa] vi la nueva Ciudad Santa [bi la nwɛ.βa θju.ðað san.ta] que descendía del cielo y venía de Dios. [kɛ ðɛs.θɛn.dia ðɛl θjɛ.lo i βɛ.nia ðɛ ðjos]
Oí una voz potente que decía desde el trono: [o.i u.na βoθ po.tɛn.tɛ kɛ ðɛ.θia ðɛz.ðɛ ɛl tro.no]
“Esta es la morada de Dios entre los hombres. [ɛs.ta ɛz la mo.ra.ða ðɛ ðjos ɛn.trɛ los om.brɛs]
El habitará con ellos y ellos serán su Pueblo. [ɛl a.βi.ta.ra kon ɛ.ʎos i ɛ.ʎos sɛ.ran su pwɛ.βlo]
El secará todas sus lágrimas y ya no habrá más muerte, [ɛl sɛ.ka.ra to.ðas suz la.ri.mas i ʝa no aβ.ra maz mwɛr.tɛ] ni pena, ni llanto, ni dolor, porque todo lo de antes pasó”. [ni pɛ.na ni ʎan.to ni ðo.lor por.kɛ to.ðo lo ðɛ an.tɛs pa.so]
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11. Salmo 150 (cont’d.) Alabemos al Señor ¡Aleluia!, ¡Aleluia! [a.la.βɛ.mos al sɛ.ɲor a.lɛ.lu.ja a.lɛ.lu.ja]
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APPENDIX 4 MISA POR LA PAZ Y LA JUSTICIA FIRST RECORDING AND PERFORMANCES102
Date City Choral Ensemble Location
November 26, 1981 Benito Juárez, Club Regatas de Parish of Our Lady of the (recording) Argentina Mendoza Carmen
1982 Mendoza, Argentina Club Regatas de Romero Day Amphitheater Mendoza
April 07, 1982 Federal Capital, Club Regatas de Maxi Concert Theater Argentina Mendoza
July 05, 1986 Córdoba, Argentina Concert with the Teatro del Libertador Municipal Choir General San
June 21, 1988 New York, USA New York Choral Carnegie Hall Society
November 22-23, Leiden, Holland Grootkoor Schola Hooglandse Kerk 1997 Cantorum
November 24, 1997 Amsterdam, Holland Grootkoor Schola Concertgebouw Cantorum
December 10, 2000 Amsterdam, Holland De Toonkunst Concertgebouw
December 13, 2000 Eindhoven, Holland De Toonkunst Musiekcentrum Frits Philips
October 24, 2002 Montevideo, Uruguay Choir of the Municipal Ball Room Radisson Hotel School of Music of Montevideo
November 27, 2002 Cuenca, Ecuador National Conservatory New Cathedral Choir and University of Cuenca
July 12, 2003 Mendoza, Argentina Boys and Girls Choir of Angel Bustello Auditorium Mendoza and Coral Victor Volpe
April 08, 2004 San Ignacio, Argentina University Choir of Plaza de Armas, Jesuit Missions Reductions of San Ignacio
102 Semblanzas Produciones. “Ediciones, presentaciones del disco y conciertos.” Sitio Oficial de Ariel Ramírez. http://www.arielramirez.com/obra3.htm# (accessed February 6, 2018). 147
VITA
Andrew Alegría, a native of Corpus Christi, Texas, received his bachelor’s degree in Church
Music from Baylor University in 2003. After graduation, he moved to Houston, Texas, where he taught private music lessons, sang with the Houston Grand Opera, and was the Director of Music
Ministry at Westminster United Methodist Church.
His passion for music brought him to New Mexico, where he studied under Professor Bradley
Ellingboe at the University of New Mexico. In 2012, he graduated with a Master of Music and was honored to receive distinction. While in New Mexico he stepped in during Professor
Ellingboe's 2013 sabbatical as a Lecturer, where he conducted the University Chorus. While teaching at the university, he conducted a professional choral ensemble, Coro de Cámara, in
Santa Fe, New Mexico, a children’s chorus through the New Mexico Philharmonic Orchestra, and several musical theater companies.
Mr. Alegría plans to receive his Doctorate of Musical Arts at Louisiana State University in May
2018. Curenlty Mr. Alegría is at Clarke University, in Dubuque, Iowa, as Director of Choral
Activities. At Clarke University he conducts the Collegiate Singers, Cantabile, Melos, and the
Clarke Chamber Orchestra.
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